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EXHIBITION 

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PENNSYLVANIA  MUSEUM 
MEMORIAL  HALL,  FAIRMOUNT 
PHILADELPHIA 
1916 


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Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
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https://archive.org/details/exhibitionoffakeOOpenn 


Chinese  Porcelain  Plates 
A  Genuine  Example  on  the  Left 
A  Modern  French  Copy  on  the  Right 


EXHIBITION 


“FAKES” 

AND 

REPRODUCTIONS 


Agesilaus,  the  Lacedaemonian  king,  on  being 
invited  to  hear  a  man  who  mimicked  the  nightingale 
to  great  perfection,  declined  by  saying,  “  I  have 
heard  the  nightingale  herself.”  Plutarch’s  Agesilaus. 


PENNSYLVANIA  MUSEUM 
MEMORIAL  HALL,  FAIRMOUNT  PARK 
PHILADELPHIA 
1916 


PREFACE 


HE  COUNTERFEITING  OF  ART 
objects  is  not  a  recent  practice.  The 
Chinese  have  for  centuries  imitated  and 
reproduced  their  own  famed  fabrics  of 
earlier  times,  and  have  placed  upon  them 
the  same  characters  or  marks  which  distinguished  the 
originals.  In  Europe  the  forging  of  bric-a-brac  can 
be  traced  back  for  a  century  or  more.  Wherever 
collectors  of  rare  and  beautiful  art  works  sprang  up, 
skilled  copyists  began  to  turn  their  talents  to  profit¬ 
able  account.  As  early  as  the  year  1815,  one  Bettignie, 
an  accomplished  potter  of  Saint-Amand-les-Eaux,  in 
France,  commenced  the  imitation  of  the  beautiful  soft 
paste  porcelain  of  the  Sevres  factory,  and  examples  of 
his  work  which  are  still  extant  are  among  the  most 
perfect  reproductions  of  that  ware  which  have  ever 
appeared.  When  Lady  Charlotte  Schreiber,  the  noted 
china  collector,  visited  St.  Amand  in  1877  she  found 
a  Bettignie  still  in  possession  of  the  works.  He  was 
then  reproducing  Worcester  porcelain  and  the  pate 
tendre  of  Sevres,  in  white,  which  wares  were  bought 
by  dealers  in  Paris,  to  be  there  painted  and  duly  sold 
as  old. 

About  the  middle  of  the  nineteenth  century 
wealthy  Americans,  traveling  abroad,  commenced  to 
gather  together  representative  examples  of  pottery 
and  porcelain  from  the  celebrated  factories  of  Europe 
and  brought  back  with  them  extensive  and  valuable 
collections  of  these  wares.  But  among  these  treasures 
were  numerous  pieces  of  questionable  character  which 
have  since  proved  to  be  spurious.  No  collector  of  that 
period  appears  to  have  entirely  escaped  the  wiles  of 

3 


the  forgers,  who  were  even  then  plying  their  trade, 
with  little  chance  of  detection.  Most  of  these  collec¬ 
tions  have  since  been  sold  or  have  passed  into  the 
possession  of  public  museums,  and  some  of  them,  under 
expert  inspection,  have  been  gradually  reduced  by 
the  elimination  of  fraudulent  specimens.  In  certain 
museums,  however,  these  collections  are  still  exhib¬ 
ited  intact,  no  attempt  having  been  made,  for  reasons 
of  policy,  to  withdraw  the  obviously  fraudulent  pieces. 

After  the  Centennial  Exhibition,  which  was  held 
in  Philadelphia  in  1876,  the  number  of  art  collectors 
increased  rapidly.  As  certain  classes  of  objects  became 
popular,  their  modern  counterparts  appeared  in  in¬ 
creasing  numbers,  but  some  time  elapsed  before  col¬ 
lectors  began  to  discriminate  between  the  genuine  and 
false.  Collections  formed  about  that  time  frequently 
contain  many  rare  and  priceless  things,  but  among 
them  will  usually  be  found  a  large  proportion  of 
worthless  reproductions.  As  authentic  objects  became 
scarcer,  the  modern  mock  wares  became  more  plenti¬ 
ful,  and  within  the  past  twenty  years  the  latter  have 
outnumbered  the  former  a  thousand  to  one. 

The  porcelain  of  the  Sevres  factory,  both  soft  and 
hard,  paste,  has  been  imitated  more  extensively  than 
any  other  ware  of  modern  times.  To  such  an  extent 
has  the  manufacture  of  counterfeit  Sevres  pieces  in¬ 
creased  that  a  French  newspaper  recently  stated, 
probably  without  exaggeration,  that  the  sale  of  sham 
porcelain  attributed  to  this  factory  nets  the  counter¬ 
feiters  16,000,000  francs  every  year,  yielding  retail 
dealers  in  Europe  and  America  the  enormous  sum  of 
48,000,000  francs,  or  $9,600,000.  It  is,  therefore,  not  a 
matter  for  surprise  that  almost  every  American  tourist 
who  has  returned  from  abroad  has  brought  home  with 
him  some  of  these  worthless  fabrications. 

A  prominent  house  in  Paris  manufactures  repro¬ 
ductions  of  almost  every  known  ceramic  ware.  These 


4 


include  copies  of  examples  from  the  Louvre,  Cluny, 
Sevres,  Rouen,  Nevers,  South  Kensington,  Bethnall 
Green,  Wallace  and  Dresden  Museums,  and  from  pri¬ 
vate  collections.  Among  the  wares  reproduced  are 
early  soft  paste  porcelains  of  St.  Cloud,  Mennecy, 
Chantilly,  Vincennes,  Sevres  and  Tournay.  Among 
the  hard  paste  imitations  are  those  of  Capo  di  Monte, 
Meissen  and  other  famous  factories,  and  the  porcelains 
of  China  and  Japan  ;  among  the  English  soft  paste 
reproductions  are  those  of  Chelsea,  Derby,  Worcester, 
Bow  and  Lowestoft.  Included  in  the  imitations  of 
faience  are  Persian  and  Hispano-Moresque  pottery ; 
tin  enameled  wares  of  Delft  and  the  various  French 
factories;  Italian  maiolica;  enamels  on  metal,  imitat¬ 
ing  those  of  Limoges,  Battersea,  China  and  other  well- 
known  wares  produced  from  the  twelfth  to  the  eight¬ 
eenth  century. 

Some  of  these  reproductions  have  deceived  the 
best  experts.  As  stated  in  Lady  Charlotte  Schreiber’s 
Journals,  this  noted  collector,  as  long  ago  as  1878, 
bought  in  Madrid  some  lovely  vases.  A  friend  after¬ 
wards  expressed  a  doubt  as  to  their  genuineness,  and 
when  she  and  her  husband  arrived  in  Paris  they  took 
the  cover  of  one  of  the  vases  to  the  manufacturer,  ‘‘who 
owned  himself  the  maker  of  it.  So  those  vases,”  she 
writes,  “have  proved  themselves  all  wrong  and  cannot 
go  into  the  collection.  I  fear  we  shall  lose  heavily  on 
them,  but  they  are  so  pretty  that  I  regret  them  more 
for  their  beauty  than  for  the  money’s  worth.  This  has 
been  rather  a  costly  lesson.” 

Next  to  the  porcelain  of  Sevres,  that  of  Capo  di 
Monte  has  been  most  extensively  counterfeited,  and 
in  this  country  fraudulent  examples  of  the  Italian  ware 
are  probably  as  abundant  as  those  of  the  national 
manufactory  of  France.  They  are  found  in  almost 
every  antique  shop  and  bric-a-brac  store  in  our  larger 
cities ;  they  are  offered  for  sale  in  our  prominent 

5 


jewelry  establishments  and  figure  extensively  among* 
the  wares  sold  by  well-known  auction  houses.  Many 
of  them  are  elaborately  modeled  and  artistically  col¬ 
ored  and  entirely  suitable  for  decorative  purposes,  but 
they  are  not  what  they  are  represented  to  be,  true 
examples  of  the  noted  products  of  the  old  Capo  di 
Monte  works,  and  are  consequently  unworthy  of  a 
place  in  any  public  or  private  collection. 

The  forgers  have  turned  their  attention  to  all  of 
the  decorative  as  well  as  the  fine  arts, — glass,  enamels, 
metal  work,  ivories,  furniture,  textiles.  There  is  per¬ 
haps  no  public  or  private  collection  of  any  importance 
in  this  country  which  does  not  contain  some  spurious 
objects,  and  we  know  of  no  European  museum  which 
is  entirely  free  from  forgeries. 

The  present  exhibition  of  “Fakes  and  Reproduc¬ 
tions”  is  necessarily  confined  to  the  industrial  arts, 
and,  on  account  of  the  limited  space  at  command,  to 
objects  of  comparatively  small  size.  The  collection 
consists  of  examples  of  counterfeits  and  reproductions 
which  have  been  acquired  by  the  Museum  from  time 
to  time,  in  connection  with  the  work  of  the  Bureau 
of  Identification,  and  through  gift  or  bequest,  aug¬ 
mented  by  specimens  which  have  been  lent  by  dealers, 
collectors  and  other  museums,  to  whom  they  came  as 
the  price  of  experience.  The  purpose  of  the  exhibition 
is  the  education  and  protection  of  collectors  and  the 
general  public,  so  far  as  may  be,  against  the  wiles  of 
the  forgers,  by  exhibiting*  side  by  side,  for  comparison 
and  study,  genuine  antiques  and  their  modern  coun¬ 
terparts. 

The  genuine  pieces,  which  are  shown  for  compar¬ 
ison  with  the  fakes  and  reproductions,  are  indicated 
by  black  cards  with  gold  lettering. 

Edwin  AtLee  Barber 


6 


CATALOGUE 


PORCELAIN 

CHINESE 

1.  PLATES  (6) — Modern  imitation  of  Chinese  por¬ 

celain  of  the  18th  century.  Made  in  Paris, 
France. 

Note  the  creamy  color  of  the  paste  and  the 
crudely  drawn  decoration. 

2.  PLATE — Chinese,  Ch’ien-lung  period  (1736-1795). 

A  GENUINE  piece  with  the  same  decorative 
design  as  the  preceding. 

Note  the  bluish  tint  of  the  paste  and  the  fine¬ 
ness  of  the  drawing,  when  compared  with  the 
modern  copies. 

3.  PLATE — Modern  imitation  of  Chinese  porcelain 

of  the  18th  century.  Peony  and  cock  pattern. 
Made  in  Paris,  18th  century. 

Note  the  creamy  tint  of  the  paste. 

4.  PLATES  (Pair) — Modern  imitation  of  Chinese 

porcelain  of  the  18th  century.  Peony  pattern. 
Made  in  Paris. 

Note  the  muddy  and  patchy  appearance  of  the 
decoration  and  irregular  bluish  tint  of  the  glaze, 
produced  artificially  to  imitate  the  old  Chinese. 

5.  PLATE — Modern  imitation  of  Chinese  porcelain 

of  the  18th  century.  Peony  and  cock  pattern. 
Made  in  Paris. 

Note  the  muddy  and  irregular  appearance  of 
the  colors  and  the  roughness  of  the  execution. 


7 


6.  GINGER  JARS  (Pair) — Modern  imitations  of  old 

Chinese  porcelain  of  the  17th  century  (K’ang- 
hsi  period).  Made  in  Budapest,  Hungary. 

Note  the  pronounced  greenish  tint  of  the 
glaze,  the  poor  quality  of  the  colors  and  the 
crudeness  of  the  decoration. 

7.  TEAPOT — Modern  imitation  of  the  famille  rose , 

of  China,  of  the  18th  century.  Probably  made  in 
Paris. 

Note  the  irregular  and  poor  quality  of  the 
rose  ground,  which  has  flaked  off  in  spots. 

8.  COVERED  JAR — Modern  imitation  of  a  baluster¬ 

shaped  jar  of  Chinese  porcelain  of  the  18th  cen¬ 
tury,  with  rose  ground  and  reserved  medallion 
painted  with  the  cock  and  peony  pattern.  Made 
in  Paris. 

Note  the  muddy  and  thick  appearance  of  the 
enamel  colors  and  the  artificially  tinted  white 
ground. 

9.  VASE — Modern  imitation  of  Chinese  porcelain  of 

the  18th  century.  Probably  made  in  Paris. 

Note  the  muddy  and  irregular  appearance  of 
the  yellow  ground  and  the  poor  quality  of  the 
iridescent  lustre  of  the  raised  leaves.  While  this 
is  evidently  intended  to  imitate  Chinese  ware,  it 
is  different  in  modeling,  coloring  and  lustre  from 
anything  which  has  come  out  of  China. 

10.  TEAPOT- — Modern  imitation  of  Chinese  porcelain 

of  the  18th  century.  Made  in  Paris. 

Note  the  crudeness  of  the  modeling  and  the 
decoration  and  the  irregular  streaked  bluish  tint 
of  the  glaze. 

11.  CUP  AND  SAUCER— Modern  imitation  of  Chi¬ 

nese  porcelain  of  the  18th  century  (Ch’ien-lung) . 
Made  in  Paris. 

Note  the  muddy  and  smeary  appearance  of  the 
enamel  colors  and  the  irregular  bluish  tint  of  the 
glaze. 


8 


12.  PLATE — Modern  imitation  of  Chinese  porcelain 

of  the  18th  century.  Made  in  Paris. 

Note  the  crude  finish  of  the  edges  and  muddy 
appearance  of  the  enamel  colors  and  the  streaky 
appearance  of  the  bluish  glaze. 

13.  CREAM  JUG — Modern  imitation  of  Chinese  por¬ 

celain  of  the  18th  century.  Made  in  Paris. 

Note  the  uneven  tinting  of  the  rose  ground  and 
the  crudeness  of  the  modeling. 

14.  PLATE — Modern  imitation  of  Chinese  porcelain 

of  the  18th  century.  Made  in  Paris. 

Note  the  pronounced  muddy  appearance  of  the 
enamel  colors  and  the  streaky,  bluish  tinted 
glaze. 

15.  VASES  (Pair)- — Modern  imitation  of  old  Chinese 

porcelain.  Made  in  Paris. 

Note  the  crudeness  of  the  decoration  and  the 
irregular  bluish  tint  of  the  glaze. 

16.  COVERED  JARS  (Set  of  Three)  - —  Baluster 

shape.  Modern  imitation  of  old  Chinese  porce¬ 
lain.  Made  in  Paris. 

Note  the  crude  modeling  of  the  lion  finials  and 
the  coarse  drawing  and  coloring  of  the  decora¬ 
tion. 

17.  CUP  AND  SAUCER — Modern  imitation  of  Chi¬ 

nese  porcelain  of  the  Ch’ien-lung  period  (late 
18th  century).  Peony  and  cock  pattern.  Made 
in  Paris. 

Note  the  muddy  appearance  of  some  of  the 
colors  and  the  artificially  tinted  glaze,  intended 
to  imitate  the  natural  bluish  tint  of  genuine 
Chinese  porcelain. 

18.  CUP  AND  SAUCER — Cafe-au-lait  glaze.  Genu¬ 

ine  ware  made  in  China  in  the  18th  century,  but 
decorated  later  in  Europe  by  wheel-cut  designs 
of  birds  and  flowers.  Hence  not  entirely  genu¬ 
ine. 


9 


19.  PUNCH  BOWL—  A  genuine  example  of  Chinese 

porcelain  decorated  with  underglaze  blue  de¬ 
signs,  of  the  18th  century,  but  redecorated  in 
Europe  by  painting  undecorated  parts  with  oil 
colors  over  the  glaze,  a  process  known  as  “clob¬ 
bering.”  This  superficial  decoration  can  readily 
be  scraped  off. 

20.  VASE — Relief  floral  decoration  on  white  glaze. 

Modern  imitation  of  old  Chinese  ware. 

21.  VASE — Lemon  yellow  crackled  glaze.  Modern 

imitation  of  old  Chinese  porcelain. 

22.  VASE— -Baluster  shape,  purple  glaze.  Modern 

imitation  of  old  Chinese  porcelain. 

23.  VASE — Pink  souffle  glaze.  Modern  imitation  of 

old  Chinese  porcelain. 

24.  SAUCER — Circular  medallions  with  figure  and 

floral  paintings  reserved  in  coral  red  ground. 
Modern  French  imitation  of  old  Chinese  porce¬ 
lain. 

25.  VASE — Mustard  yellow  glaze.  Modern  imitation 

of  old  Chinese  porcelain. 

26.  PLATE  (Deep) — Cock  and  peony  pattern  in  en¬ 

amel  colors,  surrounded  by  rose  ground,  with 
reserved  medallions  on  marly  containing  land¬ 
scapes  in  colors.  A  GENUINE  example  of  the 
Ch’ien-lung  period,  shown  for  comparison. 

Note  the  accuracy  of  the  painting  and  the 
beauty  and  richness  of  the  colors. 

27.  PLAQUE — Cock  and  peony  pattern  in  enamel 

colors.  White  slip  design  around  marly.  A 
GENUINE  example  of  the  Chia-ching  period, 
shown  for  comparison. 

28.  PLATE — Cock  and  peony  pattern  in  enamel  col¬ 

ors.  Border,  “Octagon  and.  Square”  diaper,  with 
three  irregular  medallions  containing  flower  and 


io 


fruit  designs.  A.  GENUINE  example  of  the 
Olden-lung  period  from  which  the  preceding  was 
copied. 

29.  CUP  AND  SAUCER — Cock  and  peony  design  in 

enamel  colors,  of  the  Ch’ien-lung  period.  GEN¬ 
UINE  pieces,  shown  for  comparison. 

30.  BOWL — Reticulated  porcelain,  decorated  with 

flowers  in  enamel  colors.  Made  by  Morice 
Fischer  at  Herend,  Hungary,  in  imitation  of 
Chinese  porcelain  of  the  18th  century. 

31.  CUP  AND  SAUCER— Same. 

32.  HOT  WATER  JUG — Decorated  in  enamel  colors 

in  Chinese  style.  Handle  and  finial  in  form  of 
mandarin.  Made  by  same. 

33.  PLATE — Decorated  with  chain  of  fifteen  links, 

each  containing  the  name  of  a  state.  A  modern 
reproduction  of  the  Chinese  porcelain  set  pre¬ 
sented  to  Martha  Washington  by  Capt.  Jacob 
van  Braam,  several  pieces  of  which  are  in  the 
National  Museum,  Washington.  Painted  on 
modern  Limoges  porcelain. 

34.  VEGETABLE  DISH— Same. 

Lent  by  Mrs.  Emma  B.  Hodge. 


CAPO  DI  MONTE 

35.  TANKARD — Modeled  decoration  in  high  relief, 
representing  warriors  in  battle,  with  hinged  lid 
surmounted  by  a  plumed  helmet,  and  handle  in 
form  of  a  griffin.  Modern  imitation  of  hard  paste 
Capo  di  Monte  porcelain  of  the  18th  century. 
Forged  mark  of  the  Meissen  factory.  Probably 
made  in  Paris. 

Note  the  crudeness  of  the  colors  and  decora¬ 
tions. 


36.  TANKARD — With  repousse  metal  lid.  Nude 

figures  of  boys  in  high  relief  around  sides.  Mod¬ 
ern  imitation  of  hard  paste  Capo  di  Monte  por¬ 
celain  of  the  18th  c.entury.  Probably  made  by 
Ginori,  of  Doccia,  Italy. 

Note  the  whiteness  of  the  glaze  and  the  crude¬ 
ness  of  the  painting. 

37.  VASE  —  Urn-shaped,  with  horn-shaped  handles, 

and  cover  surmounted  by  a  modeled  boy.  Clas¬ 
sical  pastoral  figure  scene  in  relief  extending 
around  the  entire  circumference.  Modern  imi¬ 
tation  of  hard  paste  Capo  di  Monte  porcelain  of 
the  18th  century.  Made  by  Ginori,  of  Doccia, 
Italy. 

Note  the  want  of  sharpness  of  the  reliefs  and 
the  whiteness  of  the  glaze.  This  piece  is  marked 
with  a  crowned  capital  letter  N  in  blue,  whereas 
the  genuine  hard  paste  Capo  di  Monte  of  this 
character  was  seldom,  if  ever,  marked. 

38.  VASE — A  companion  to  the  preceding. 

39.  VASE — Large  ewer-shaped  vase  with  figure  deco¬ 

ration  modeled  in  high  relief.  Handles  in  form 
of  a  grotesque  dolphin  surmounted  by  a  woman’s 
head.  Modern  imitation  of  hard  paste  Capo  di 
Monte  porcelain  of  the  18th  century.  Made  by 
Ginori,  of  Doccia,  Italy. 

Note  the  gaudy  colorings  and  the  whiteness  of 
the  glaze.  It  is  marked  with  a  crowned  N  in 
blue,  showing  its  spurious  character. 

40.  VASE — A  companion  to  the  preceding  but  with 

different  figure  decoration.  These  elaborate  and 
effective  pieces  are  good  examples  of  the  so-called 
Capo  di  Monte  porcelain  which  has  been  manu¬ 
factured  so  extensively  in  Italy  for  almost  one 
hundred  years  and  brought  in  such  abundance 
into  this  country. 


12 


39,  40.  Pair  of  Porcelain  Ewers 
Modern  Imitations  of  Old  Capo  di  Monte 


41.  DISH — Oval  form,  handles  representing  mer¬ 

maids.  Relief  and  painted  decorations  on  sol¬ 
idly  gilded  ground.  A  modern  imitation  of  Capo 
di  Monte  porcelain  of  the  18th  century. 

42.  PLATE — Figure  decoration  in  relief  around  marly. 

Cupids  painted  in  centre.  A  modern  imitation  of 
Capo  di  Monte  porcelain,  bearing  the  mark  of  the 
Meissen  factory. 


3 


43.  CHOCOLATE  POT — Eigure  scenes  in  relief;  on 

one  side  the  “Judgment  of  Paris,”  on  the  reverse 
a  classical  scene.  This  is  a  GENUINE  example 
of  Capo  di  Monte  of  the  18th  century,  which  is 
exhibited  here  for  the  purpose  of  comparison. 
Not  marked. 

Note  the  sharpness  of  the  reliefs,  the  fineness 
of  the  coloring,  particularly  the  stippling  of  the 
flesh  tints,  the  slender  and  gracefully  modeled 
figures,  and  the  beautiful  finish. 

44.  SEAU,  or  ICE  BOWL — Figure  decoration  in  high 

relief,  representing  Apollo  and  Daphne,  with 
handles  in  form  of  hooded  dolphin.  This  is  a 
GENUINE  example  of  Capo  di  Monte  porcelain 
of  the  18th  century,  and  a  particularly  choice 
piece  of  this  style  of  ware.  Not  marked. 

Note  the  pronounced  grayish  or  bluish  tint  of 
the  paste  and  glaze,  the  excellence  of  the  model¬ 
ing  and  the  carefully  executed  coloring. 

45.  CUP  AND  SAUUER — Figure  decoration  in  relief, 

representing  on  one  side  of  the  cup  the  “Tri¬ 
umph  of  Bacchus”  and  on  the  other  Ceres  in  her 
chariot.  These  are  GENUINE  pieces  of  Capo 
di  Monte  hard  paste  of  the  18th  century,  and 
came  from  the  celebrated  collection  of  Rev.  T. 
Staniforth,  who  secured  them  at  the  noted  sale 
of  the  Bernal  collection  in  1855. 

Note  the  grayish  tone  of  the  glaze,  the  sharp¬ 
ness  of  the  modeling  and  the  fineness  of  the  col¬ 
oring.  These  pieces  are  not  marked,  as  genuine 
Capo  di  Monte  porcelain  of  this  style  was  rarely, 
if  ever,  marked,  while  the  reproductions  are 
almost  invariably  marked. 

46.  CUP  AND  SAUCER — Decorated  with  figure  and 

floral  design  in  relief.  A  modern  reproduction. 
This  cannot  be  classed  with  forgeries,  since  it 
bears  the  mark  of  the  Meissen  factory,  the 


i4 


crossed  swords  in  blue,  but  it  is  an  attempt  to 
reproduce  the  Capo  di  Monte  style. 

Note  the  poor  modeling,  the  lack  of  sharpness 
in  the  reliefs  and  the  crude  coloring. 

47.  TILE  or  PLAQUE — Modern  imitation  of  Capo  di 

Monte  hard  paste  porcelain  of  the  18th  century. 
Biblical  figure  scene  (St.  Christopher)  in  high 
relief.  While  the  modeling  of  this  example  is 
better  than  the  average  of  such  imitations,  in  the 
boldness  of  the  reliefs,  the  coloring  is  crude  and 
garish  and  the  stippling  of  the  flesh  tints  is  coarse 
in  texture,  while  the  porcelain  is  much  whiter 
than  the  genuine  old  Capo  di  Monte  ware. 

Probably  made  at  Doccia,  Italy,  late  19th  cen¬ 
tury. 

48.  BENITIER,  or  HOLY  WATER  CUP— Modern 

imitation  of  Capo  di  Monte  hard  paste  porcelain 
of  the  18th  century.  The  modeled  figure  design 
in  the  centre  represents  the  Holy  Family.  The 
coloring  of  the  reliefs,  including  the  rococo 
frame,  is  muddy  and  imperfect,  while  the  attempt 
at  gilding  has  proved  a  failure. 

Made  at  Doccia,  Italy,  late  19th  century. 

49.  BONBON  BOX — With  gilded  metal  mounts. 

Modern  imitation  of  Capo  di  Monte  hard  paste 
porcelain  of  the  18th  century,  with  classical 
figure  scenes  in  relief.  The  mark  on  the  base 
is  a  crowned  N  in  blue,  which  stamps  it  as  a 
forgery.  Made  at  Doccia,  Italy,  late  19th  cen¬ 
tury. 

Note  the  crudely  modeled  reliefs,  the  extreme 
carelessness  of  the  painting  and  the  intense 
whiteness  of  the  glaze,  all  of  which  are  features 
not  found  in  genuine  Capo  di  Monte  ware. 


i5 


SEVRES 


50.  SCENT  BOTTLE — Soft  paste  porcelain  known  as 

fritted  porcelain  or  pate  tendre.  Turquoise  blue 
ground  with  reserved  white  medallions  contain¬ 
ing  portrait  of  Marie  Antoinette,  cupids,  tro¬ 
phies  and  monogram,  surrounded  by  rococo  gold 
frames.  Date  marked  on  base,  1779.  A  beauti¬ 
fully  executed  specimen  but  a  dangerous  forgery. 
Important  decorations  of  this  character  were 
never  painted  at  the  Sevres  factory  on  insignifi¬ 
cant  pieces  of  this  kind. 

51.  CUP  AND  SAUCER — Hard  paste  porcelain  dec¬ 

orated  with  figure  scene  in  colors,  in  a  rectangu¬ 
lar  gold  framed  medallion,  with  imitation  pearl 
settings,  surrounded  by  dark  blue  ground.  Sau¬ 
cer  decorated  with  imitation  pearls  and  rubies. 
Marked  with  a  double  L  date  mark  of  1771. 
Modern  imitation  of  early  soft  paste  Sevres. 
Jewel  decoration  was  not  attempted  at  that  fac¬ 
tory  until  1778.  A  forgery  throughout,  paste, 
decoration  and  mark. 

52.  CUP  AND  SAUCER — Soft  paste  porcelain  with 

beautifully  painted  heads  of  French  court 
beauties,  Dubarry,  Victoire  and  de  Fontanges, 
surrounded  by  jeweled  frames  representing  tur¬ 
quoise,  with  imitation  pearls,  rubies  and  emer¬ 
alds  on  dark  blue  ground.  On  base  the  factory 
mark  of  1753.  A  modern  French  imitation  of 
the  celebrated  jeweled  porcelain  of  the  Sevres 
factory  which  was  not  produced  until  1778, 
twenty-five  years  later  than  the  date  indicated 
by  the  mark. 

53.  TEA  SET — Teapot,  sugar  bowl,  creamer,  two  cups 

and  saucers  and  tray.  Light  blue  ground  with 
reserved  white  medallions  decorated  in  colors 
with  cupids  and  flowers  and  monogram  of  Louis 
Philippe  in  gold  surrounded  by  gold  rococo 
frames.  On  base,  the  forged  factory  and  deco- 

16 


rator’s  marks  of  1840  and  1844.  Modern  repro¬ 
ductions.  Made  in  Paris.  Forged  throughout, 
paste,  decoration  and  marks. 

54.  TEA  SET — Teapot,  sugar  bowl,  cream  jug,  two 

cups  and  saucers  and  square  tray.  Decorated 
with  portrait  medallions  of  Louis  XVI  and 
French  court  beauties,  surrounded  by  rococo 
gold  frames  on  light  blue  ground.  On  bottom, 
forged  double  L  mark  of  Sevres  soft  paste  por¬ 
celain  of  the  18th  century.  Made  in  Paris. 

55.  VASE — Tall  slender  form,  dark  blue  ground  with 

gold  decoration  consisting  of  elaborate  mono¬ 
grams  composed  of  the  double  L  surmounted  by 
a  crown.  Ormolu  mounts,  including  base  and 
finial.  Modern  forgery  of  Sevres  porcelain  of 
the  early  19th  century,  with  forged  factory  mark 
of  1837  (overglaze  instead  of  underglaze).  Dec¬ 
orator’s  mark  of  1844  and  mark  of  the  Chateau 
des  Tuileries.  Forged  throughout. 

56.  DISHES  (2) — Circular  form,  large  size.  Decora¬ 

tion  in  colors,  two  cupids  holding  a  floral  wreath 
enclosing  the  monogram  of  Louis  Philippe  sur¬ 
rounded  by  gold  circles.  Broad  outside  band  of 
light  blue.  A  piece  of  Sevres  hard  paste,  dated 
1846,  the  decoration  having  been  painted  at  a 
later  date  outside  of  the  factory. 

57.  CUP  AND  SAUCER— Dark  blue  ground  with 

gilded  decoration  and  forged  double  L  mark  in 
gold.  Modern  imitation  of  early  Sevres  soft 
paste. 

58.  VASES  (Pair) — Baluster  shape,  dark  blue  ground 

with  broad  central  band  painted  with  landscape 
and  figure  scenes.  Bold  decoration  of  rococo 
design  and  groups  of  trophies.  Modern  imita¬ 
tion  of  early  soft  paste  Sevres,  marked  with  the 
double  L  cipher  used  on  Sevres  porcelain  in  1763. 
Made  in  Paris,  late  19th  century.  Forgery 
throughout,  paste,  decoration  and  mark. 


56.  Hard  Porcelain  Dish 
Modern  Imitation  of  Sevres  Porcelain 
Louis  Philippe  Period 

59.  CUPS  AND  SAUCERS  (2)— Light  blue  ground 

enclosing  figure  scenes  and  flowers  in  colors  sur¬ 
rounded  by  rococo  frames  in  gold.  Hard  paste 
porcelain  made  at  Sevres  between  1870  and  1876, 
with  genuine  date  marks  cut  through,  indicating 
that  they  left  the  factory  in  a  white  condition 
and  were  decorated  later  outside. 

60.  CUP  AND  SAUCER — Bleu  Agate  ground  with 

gold  decoration.  Pieces  of  Sevres  hard  paste 
porcelain  with  incised  mark  of  1841.  Gilded  later 
in  Paris,  hence  not  entirely  genuine. 

18 


61.  SMALL  VASES  (Pair) — Decorated  with  gold  and 

small  floral  medallions  in  colors.  Gilded  handles 
in  form  of  human  heads.  Examples  made  at 
Sevres  in  1844  but  decorated  and  gilded  in  Paris 
at  a  later  date. 

62.  PLATE — With  scalloped  margin.  Decorated  with 

the  letter  N  crowned  in  gold.  On  back,  factory 
mark  of  1860  scratched  through.  Also  forged 
Napoleon  mark  of  1868.  Made  at  the  Sevres 
factory  but  decorated  later  outside. 

63.  CUP  AND  SAUCER— Dark  blue  mottled  ground 

with  gold  tracery  decoration.  Pieces  made  at 
Sevres  in  1817  but  gilded  later  in  Paris. 

64.  CUP  AND  SAUCER — Chrome  green  ground  and 

gold  decoration.  Pieces  made  at  Sevres  in  1818 
but  gilded  later  in  Paris. 

65.  COMPOTE — Figure  and  floral  decoration  in  col¬ 

ors,  surrounded  by  gold  rococo  frames  on  light 
blue  ground.  Sevres  porcelain  with  date  mark 
1868  cut  through,  showing  that  it  was  made  at 
Sevres  but  decorated  later  outside. 

66.  CUP  AND  SAUCER— Painted  with  portrait  of 

Marie  Antoinette  surrounded  by  gold  rococo 
frame,  on  light  blue  ground.  Modern  imitation 
of  old  Sevres  porcelain.  Forged  throughout. 

67.  COMPOTE  —  Decorated  with  cupids  and  floral 

designs  in  colors  with  monogram  of  Louis  Phil¬ 
ippe  in  gold,  surrounded  by  pink  ground.  Mod¬ 
ern  imitation  of  old  Sevres  porcelain.  Forged 
throughout. 

68.  PLATE — Decorated  with  figures  of  boys  in  colors 

on  white  ground  with  dark  blue  marly  embel¬ 
lished  with  gold  tracery.  Date  mark  of  1861 
cut  through,  indicating  that  the  piece  was  made 
at  Sevres  in  that  year  and  later  decorated  out¬ 
side. 


T9 


69.  PLATES  (3) — Decorated  with  cupids  bearing 

floral  wreaths  in  colors  enclosing  monogram  of 
Louis  Philippe  in  gold.  Margins  with  light  blue 
ground  work  with  vine-leaf  decoration  in  gold. 
On  base,  Sevres  date  mark  of  1874  cut  through, 
showing  that  the  ware  itself  was  made  at  the 
Sevres  factory  in  that  year  but  the  decoration 
was  done  later  outside. 

70.  PLATE — Decorated  with  figure  scene  in  colors. 

Gold  tracery  around  border.  On  back,  counter¬ 
feit  Sevres  marks  of  1846.  Forged  throughout, 
paste,  decoration  and  marks. 

71.  PLATE  —  Decorated  with  painting  of  woman. 

Modern  imitation  of  old  Sevres  porcelain. 
Forged  Sevres  marks  of  1843  and  1844.  Coun¬ 
terfeit  throughout. 

Lent  by  Mr.  Albert  H.  Pitkin. 

72.  PLATE — Decorated  with  head  of  Michel  de  Mon¬ 

taigne.  Modern  imitation  of  Sevres  porcelain. 
Forged  mark  of  1814-1824. 

73.  PLATE — Decorated  with  classical  head  in  cameo 

style.  Modern  imitation  of  old  Sevres  porcelain. 

74.  PLATE — Decorated  with  “Vue  du  Chateau  de 

Brindes.”  Modern  imitation  of  old  Sevres  por¬ 
celain.  Forged  Sevres  mark. 

75.  PLATE — Subject  of  decoration,  Chinese  fishing 

scene.  Gold  and  silver  tracery  on  marly.  A 
GENUINE  example  of  Sevres  porcelain  of  1841. 
Note  the  delicacy  and  beauty  of  the  decoration. 

76.  PLATE— “View  in  Isle  of  Cracatori.”  A  GEN¬ 

UINE  example  of  Sevres  porcelain  of  1820. 

Note  the  fine  painting  and  the  excellence  of 
the  colors  and  gilding. 


20 


OTHER  FACTORIES 


77.  PLATE — Decorated  with  floral  designs  and  bear¬ 

ing  on  the  back  the  mark  of  the  Nyon  factory, 
Switzerland  —  a  fish  painted  in  blue  over  the 
glaze.  This  mark,  which  if  original  would  be 
under  the  glaze,  has  been  painted  over  the  im¬ 
pressed  mark  of  a  modern  maker.  The  back  has 
been  filed  to  imitate  wear.  Probably  made  in 
Paris. 

78.  PLATE — Modern  imitation  of  old  Dresden  porce¬ 

lain  with  floral  decoration  painted  in  colors  and 
border  design  in  raised  white  slip.  On  back, 
forged  Meissen  mark.  Probably  made  in  Dres¬ 
den. 

79.  PLATE — Basket-work  design  in  relief  with  sprays 

of  flowers  painted  in  enamel  colors.  Openwork 
border.  Modern  German  imitation  of  old  Meis¬ 
sen  porcelain. 

80.  PLATE — Floral  decoration  in  colors.  Elaborate 

openwork  border  decoration.  On  back,  forged 
Meissen  mark.  Modern  German  imitation  of  old 
Meissen  porcelain. 

81.  PLATE — Decorated  with  bold  floral  design  in  col¬ 

ors.  Raised  pattern  around  marly.  Modern  copy 
of  an  old  Meissen  pattern  but  very  curiously 
bearing  the  forged  date  mark  of  Sevres  porce¬ 
lain  of  1765. 

82.  PLATTERS  (4) — Landscapes  painted  in  colors  in 

the  centre.  Openwork  border  with  gold  decora¬ 
tion.  Forged  mark  of  Amstel  (Holland)  factory. 
Probably  modern  Dutch. 

83.  SAUCER — Monogram  of  George  Washington  in 

gold  in  centre,  surmounted  by  a  floral  wreath  in 
colors.  Border  design  of  festoons  of  leaves 
in  brown  and  bronze.  Modern  French  porcelain. 


21 


84.  SAUCER — Decorated  with  gold  design  on  purple 

ground.  A  genuine  marked  example  of  old 
Vienna  porcelain  but  decorated  outside  of  the 
factory. 

85.  EWER — Side  medallions  imitating  Wedgwood 

jasper.  A  genuine  marked  example  of  old 
Vienna  porcelain  but  decorated  outside  of  the 
factory. 

86.  PLATE — Decorated  with  sprays  of  flowers.  Forged 

Niderviller  mark.  Modern  French  forgery 

throughout. 

87.  CANDLESTICKS  (Pair) — Rococo  design  with 

floral  decoration  in  colors.  Mark  of  the  Eferend 
(Austria)  factory.  Modern  imitation  of  Meissen 
porcelain.  Made  by  Morice  Fischer,  mid-19th 
century. 

Since  these  pieces  bear  the  mark  of  the  Herend 
factory,  where  imitations  of  all  celebrated  wares 
were  made,  they  can  hardly  be  placed  in  the  cate¬ 
gory  of  fakes  but  come  under  the  head  rather  of 
imitations. 

88.  CUP  AND  SAUCER  —  Decorated  with  painted 

figure  subjects  (“Orpheus  und  Euridike”).  False 
mark  of  the  Vienna  factory  painted  over  the 
glaze  instead  of  under.  Impressed  mark  of  the 
Gotha  factory. 

The  marks  show  that  the  ware  itself  was  pro¬ 
duced  at  Gotha,  but  decorated  elsewhere,  and 
marked  with  a  forged  Vienna  mark. 

89.  COVERED  CUP  AND  SAUCER  —  Decorated 

with  figure  medallions  in  colors,  and  gold  bor¬ 
ders.  The  saucer  was  made  at  Meissen,  Ger¬ 
many,  the  cup  at  some  other  Continental  factory. 
On  the  latter  is  a  forged  Copenhagen  mark.  The 
decoration,  which  was  done  outside  of  either  fac¬ 
tory,  is  modern.  A  very  curious  combination  of 
ancient  and  modern  work  and  of  different  places. 


90.  CUP  AND  SAUCER — Genuine  Meissen  paste,  as 

shown  by  the  crossed  swords  mark  scratched 
through.  Decoration  done  elsewhere. 

91.  CUPS  AND  SAUCERS  (2)  —  Decorated  with 

floral  designs  in  colors  and  raised  pattern  in 
white  slip.  Modern  imitation  of  Meissen  porce¬ 
lain  by  Samson,  of  Paris. 

92.  COVERED  CUP — In  form  of  a  rose.  Forged 

Vienna  mark.  Modern  imitation  of  Vienna  hard 
paste  porcelain. 

93.  MUSTARD  CUP — In  form  of  a  lemon  on  a  leaf. 

Forged  mark  of  the  Berlin  factory.  Modern  imi¬ 
tation  of  old  Berlin  porcelain. 

94.  FOUNTAIN — Figures  of  Venus,  Juno  and  Jupi¬ 

ter.  Base  and  pillars  decorated  with  miniature 
Chinese  figure  scenes  in  colors  and  gold.  Forged 
mark  of  the  Meissen  factory.  Modern  imitation 
of  Meissen  porcelain  of  the  mid-18th  century. 

95.  KNIVES  AND  FORKS  (12)— Porcelain  handles 

painted  with  figure  scenes.  Modern  imitations 
of  old  Meissen. 

Note  the  poor  quality  of  the  painting  and  the 
modern  steel  blades  and  prongs.  Probably  made 
in  Dresden,  Germany. 

96.  SUGAR  BOWL  AND  CREAMER— Modern  imi¬ 

tation  of  Japanese  porcelain,  but  bearing  a  forged 
mark  of  the  Meissen  factory. 

97.  SAUCER — Bearing  a  false  mark  of  the  Strasbourg 

(France)  factory.  Modern  imitation. 

98.  PLATE — Decorated  with  birds  in  colors.  Modern 

imitation  of  old  Meissen  porcelain,  with  the  AR 
mark. 

99.  VASE — Cupids  and  flowers  in  full  relief.  Modern 

imitation  of  old  Meissen  porcelain. 


23 


100.  CLOCK — Cupids  and  flowers  in  relief.  Modern 

imitation  of  old  Meissen  porcelain,  by  Thieme, 
of  Dresden. 

101.  PERFUME  VASE  —  Modern  imitation  of  old 

Tournay  (France)  soft  paste  porcelain,  with 
landscapes  painted  around  centre. 


FIGURES 

102.  FIGURE  —  Winged  girl  with  basket  of  fruit. 

Modern  imitation  of  old  German  ware. 

Note  the  coarse  modeling  and  the  poor  qual¬ 
ity  of  the  colors. 

103.  SCENT  BOTTLE  —  Modeled  in  the  form  of  a 

monk  carrying  a  goose  in  one  hand,  a  basket  of 
eggs  on  one  arm,  and  a  sheaf  of  wheat  on  his 
back  in  which  is  concealed  a  girl.  The  base 
bears  the  mark  of  the  Meissen  factory.  Mod¬ 
ern  German. 

104.  FIGURE — Boy  with  flute.  Modern  imitation  of 

old  Hoechst  porcelain.  German. 

105.  FIGURE — Cavalier.  Modern  imitation  of  an  old 

Hoechst  porcelain  design. 

106.  FIGURE  —  Child  with  garden  tools.  Modern 

imitation  of  old  German  porcelain. 

107.  VINAIGRETTES  (Pair) — Figures  of  infants  in 

swaddling  clothes.  Modern  imitations  of  old 
Meissen  porcelain. 

108.  VINAIGRETTE — Figure  of  infant  in  swaddling 

clothes.  Similar  to  preceding  but  of  larger 
size. 

109.  OX — Hard  paste  porcelain  with  forged  Meissen 

mark.  Modern  imitation.  Probably  made  in 
Paris. 


24 


110.  BEAR — Soft  paste  porcelain.  Forged  Niderviller 

mark  of  about  1792.  Modern  imitation  of  old 
French  porcelain. 

111.  MAN — With  hat  in  hand.  Hard  paste  porcelain. 

Modern  imitation  of  Meissen  ware.  Probably 
made  in  Paris. 

112.  MAN — seated,  with  hurdy-gurdy.  Hard  paste 

porcelain.  Forged  Meissen  mark.  Probably 
made  in  Paris. 

113.  MAN — With  cello  on  back.  Mark  of  the  Hoechst 

factory.  Modern  imitation  of  old  German  pot¬ 
tery. 

114.  MAN — In  uniform  of  a  guild.  Modern  imitation 

of  old  Meissen  hard  paste  porcelain. 

115.  MAN — Similar  to  preceding  but  in  different  atti¬ 

tude. 

116.  DOG — In  recumbent  attitude.  Modern  imitation 

of  old  Meissen  hard  paste  porcelain. 

117.  MAN  AND  DOG — Modern  imitation  of  old  Chel¬ 

sea  porcelain. 

Lent  by  Mrs.  Emma  B.  Hodge. 

118.  GARDENER— A  GENUINE  example  of  Chel- 

sea-Derby  porcelain  of  about  1780.  Shown  for 
comparison. 

Note  rich,  creamy  tone  of  the  glaze  as  com¬ 
pared  to  preceding. 

118A.  BUST  OF  LOUIS  XVI— Modern  imitation  of 
old  Meissen  porcelain.  Made  in  Paris. 

Lent  by  Miss  Sarah  Cooper  Hewitt. 

118B.  BUST  OF  MARIE  ANTOINETTE— Compan¬ 
ion  to  preceding. 

Lent  by  Miss  Sarah  Cooper  Hewitt. 


25 


ENGLISH  LOWESTOFT  AND  “ORIENTAL 
LOWESTOFT” 

119.  TEA  POT  —  Decorated  with  transfer-printed 

landscapes  in  underglaze  blue.  Soft  paste  por¬ 
celain,  made  at  Lowestoft,  England,  late  18th 
century,  in  imitation  of  Worcester  porcelain. 
A  GENUINE  example  shown  for  comparison 
with  Chinese  so-called  “Lowestoft.” 

120.  CREAMER — 'Decorated  in  dark  blue,  painted 

beneath  the  glaze.  Made  at  Lowestoft,  Eng¬ 
land,  late  18th  century,  in  imitation  of  early 
Worcestershire  porcelain.  A  GENUINE  ex¬ 
ample. 

121.  TEA  POT — Decorated  in  red  and  blue.  Made  at 

Lowestoft,  England,  late  18th  century,  in  imita¬ 
tion  of  an  old  Worcester  pattern.  A  GENUINE 
example. 

122.  CREAMER  —  Decorated  in  colors  with  figure 

scenes.  Made  at  Lowestoft,  England,  late  18th 
century,  in  imitation  of  Chinese  porcelain.  A 
GENUINE  example. 

123.  CUP — Decorated  in  red,  blue  and  green.  Made 

at  Lowestoft,  England,  late  18th  century,  in 
imitation  of  Chinese  porcelain.  A  GENUINE 
example. 

124.  BOWL  —  Decorated  in  colors  with  bird  and 

flowers.  Made  at  Lowestoft,  England,  late  18th 
century,  in  imitation  of  Chinese  porcelain.  A 
GENUINE  example. 

125.  SAUCE  BOAT — Soft  paste  porcelain  decorated 

in  underglaze  blue.  A  GENUINE  example  of 
English  Lowestoft  of  the  late  18th  century. 

Note  greenish  tint  of  glaze  and  dust  specks 
in  the  glaze. 

Lent  by  Mr.  Albert  H.  Pitkin. 

26 


126.  CUP — Decorated  with  transfer-printed  landscape 

in  underglaze  blue.  Made  at  Lowestoft,  Eng¬ 
land,  late  18th  century,  in  imitation  of  Worces¬ 
ter  porcelain.  A  GENUINE  example. 

127.  SAUCE  BOAT — Decorated  with  transfer-printed 

landscape  in  underglaze  blue.  Made  at  Lowes¬ 
toft,  England,  late  18th  century,  in  imitation  of 
Worcester  porcelain.  A  GENUINE  example. 

128.  CUP — Decorated  with  figure  subject  in  colors  in 

Chinese  style.  Made  at  Lowestoft,  England, 
late  18th  century.  A  GENUINE  example. 

129.  CREAMER — Decorated  with  floral  design  in  col¬ 

ors,  in  Chinese  style.  Made  at  Lowestoft,  Eng¬ 
land,  late  18th  century.  A  GENUINE  example. 
Note  the  duck’s-egg  tint  of  the  glaze. 

130.  PUNCH  BOWL— Hard  paste  porcelain  made 

and  decorated  in  China,  late  18th  century.  A 
GENUINE  example,  improperly  called  Lowes¬ 
toft,  shown  for  comparison  with  true  Lowestoft. 

131.  CREAMER — Helmet  shape.  Same. 

132.  SUGAR  BOWL — Crossed  handles.  Same. 

133.  TEA  POT — Crossed  handle.  Same. 

134.  VEGETABLE  DISH  WITH  COVER  —  Deco¬ 

rated  with  Tomb  of  Washington.  Same. 

135.  HOT  WATER  JUG  WITH  COVER— Same. 

136.  PLATE — Heraldic  design.  Same. 

137.  DISH — Blue  edge  with  gold  stars.  Same. 

138.  SUGAR  BOWL — American  eagle  in  brown  and 

gold.  Modern  imitation  of  so-called  Chinese 
Lowestoft.  Probably  made  in  Paris. 

139.  CUP  AND  SAUCER— Same. 


27 


140.  MUG  —  Modern  imitation  of  Chinese  so-called 

Lowestoft,  of  the  late  18th  century.  Made  in 
Paris. 

Note  the  streaky  blue  tinting  of  the  glaze. 

141.  MUG — Figure  scenes  painted  in  enamel  colors. 

GENUINE  so-called  Chinese  Lowestoft,  18th 
century.  Shown  for  comparison  with  real  Eng¬ 
lish  Lowestoft  soft  paste. 


HENRI  II.  FAIENCE 

142.  BIBERON — Copy  of  Henri  Deux  ware,  or  Fai¬ 

ence  d’Oiron,  of  the  16th  century.  Made  by 
Minton’s,  Stoke-upon-Trent,  England,  in  1875, 
from  the  original  in  the  South  Kensington 
Museum.  Done  by  C.  Toft. 

143.  CANDLESTICK— Copy  of  Henri  Deux  ware,  or 

Faience  d’Oiron,  of  the  16th  century.  Same 
series. 

144.  SALT  CELLAR — Copy  of  a  Henri  Deux  piece 

of  the  16th  century.  Same  series. 


PALISSY  WARE 

145.  WALL  PANEL  —  Rectangular  form.  Modern 

imitation  of  16th  century  ware  made  by  Ber¬ 
nard  Palissy.  By  Victor  Barbizet,  Paris,  1876. 

146.  WALL  PANEL — Oval  form.  Modern  imitation 

of  16th  century  ware  made  by  Bernard  Palissy. 
By  Victor  Barbizet,  Paris,  1876. 

147.  DISH  —  Fishes  and  reptiles  modeled  in  relief. 

Modern  imitation  of  Palissy  ware  (rustiques 
Hgidines)  by  Victor  Barbizet,  Paris,  France. 

28 


148.  DISH  —  Circular  form.  Fishes,  shells,  reptiles 

and  leaves  in  relief.  Imitation  of  Palissy  ware. 
Modern  Portuguese. 

149.  DISH — Decorated  with  lobster,  fishes  and  shells 

in  full  relief.  Modern  Portuguese  imitation  of 
Palissy  ware  of  the  16th  century. 

150.  DISH — Circular  form.  Similar  to  preceding  but 

larger.  Modern  imitation  of  Palissy  ware. 
Made  at  Rorstrand,  Sweden. 

151.  DISH — Oval  form.  Figure  design,  “Henry  IV 

and  His  Family.”  School  of  Palissy.  Proba¬ 
bly  by  Guillaume  Dupre,  France,  about  1600. 

This  is  an  interesting  example  made  by  one 
of  Palissy’s  early  imitators. 

152.  DISH — Oval  form.  Figure  decoration,  “The  Bap¬ 

tism  of  Christ.”  School  of  Palissy.  Probably 
by  Guillaume  Dupre,  France,  about  1600. 

These  two  dishes  were  probably  produced 
within  thirty  or  forty  years  of  Palissy’s  time, 
and  by  most  collectors  would  be  classed  with 
Palissy  ware.  We  know  of  no  example  in  this 
country  which  with  certainty  can  be  attributed 
to  Palissy  himself. 

153.  DISH— Oval  form.  Subject,  “The  Baptism  of 

Christ.  Palissy  school,  probably  seventeenth 
century. 

154.  DISH  Cjval  form.  Subject,  “Abraham  and  the 

Angels.”  A  companion  to  the  preceding. 

154A.  DISH — Hexagonal  form,  with  masks  and  other 
ornaments  in  relief.  Made  in  imitation  of 
Palissy  ware  by  Avisseau  the  younger,  of  Tours, 
France,  in  1889. 

Lent  by  Mr.  Edward  Page  Mitchell. 

154B.  DISH — Oval  form,  with  lizard,  lobster,  frogs, 
shells  and  leaves  in  relief.  An  imitation  of 
Palissy  ware  by  Avisseau  the  younger,  Tours 
France,  1889. 

Lent  by  Mr.  Edward  Page  Mitchell. 


29 


GREAMWARE 


155.  PITCHER — Printed  design  in  red,  caricaturing 
Napolean  and  John  Bull,  entitled  “The  Gov¬ 
ernor  Stoped  in  His  Career.”  On  reverse,  in¬ 
scription,  “Success  to  the  Volunteers,”  sur¬ 
rounded  by  grape-vine  and  grapes.  A  modern 
copy  of  an  old  Liverpool  design. 

Note  the  form  of  the  pitcher,  whose  lip  rises 
above  the  top  in  a  curved  line  instead  of  being 
a  continuation  of  it. 


156,  155.  Creamware  Jugs 
Lafayette  and  Napoleon 
Modern  Forgeries ;  Made  in  London 

156.  PITCHER  —  With  transfer-printed  design  in 
black.  On  one  side,  bust  of  Benjamin  Frank¬ 
lin  wearing  fur  cap.  On  reverse,  bust  of  La 
Fayette,  “The  Nation’s  Guest,”  in  commemora¬ 
tion  of  his  visit  to  the  United  States  in  1824. 
On  front,  American  eagle  with  inscription, 
“Republicans  are  not  always  Ungrateful,”  and 
the  name  of  the  supposed  makers,  Ricd.  Hall  & 
Son.  Modern  imitation  of  a  Staffordshire  de¬ 
sign  of  1824. 


30 


Note  the  fine  crackle  of  the  glassy  glaze,  the 
name  “Fayette”  over  the  bust  and  the  weak¬ 
ness  of  the  black  printing. 

157.  PITCHER — Same  design  as  preceding  but  with 

bust  of  Washington  in  place  of  that  of  Franklin. 

Note  the  coarse  crackling  of  the  glaze,  into 
which  black  pigment  has  been  rubbed. 

158.  PITCHER — Same  as  preceding  but  of  somewhat 

smaller  size  and  more  creamy  paste. 


159,  162,  188.  Creamware  Jug,  Bowl  and  Plaque 
With  Busts  of  Lafayette,  Franklin  and  Washington 
Modern  Forgeries,  London 


159.  PITCHERS  (Pair) — Staffordshire  form.  Same 

decoration  as  preceding. 

Note  the.  coarse  crackling  of  the  glaze,  the 
crudeness  of  the  engraving  and  the  heavy  ap¬ 
pearance  of  the  ware. 

160.  PITCHERS  (Pair) — Same  as  preceding  but  of 

smaller  size. 

161.  PITCHER  —  Same  as  preceding  but  slightly 

larger. 

162.  BOWL — Decorated  with  black  printed  busts  of 

Washington,  Franklin  and  La  Fayette.  On  the 


interior,  a  heraldic  design  labeled  “The  Ship¬ 
wright’s  Arms.”  Modern  imitation  of  an  old 
Liverpool  bowl. 

Note  the  heavy,  clumsy  appearance  of  the 
ware,  the  coarse  crackling,  into  which  black 
pigment  has  been  rubbed,  and  the  pronounced 
pinkish  tint  of  the  ware. 

163.  PITCHERS  (Pair)- — Head  of  Judy.  Modern 

imitation  of  Staffordshire  creamware. 

Note  the  thickness  and  heaviness  of  the  ware, 
the  tinselly  brightness  of  the  gilding  and  crude¬ 
ness  of  the  finish. 

164.  LOVING  CUP — With  two  handles.  In  front, 

inscription,  “Peter  Bates,  1802,”  painted  in 
brown  and  black.  Blue  borders.  Modeled  frog 
inside.  Modern  imitation  of  an  old  Stafford¬ 
shire  cup. 

Note  the  coarse  crackling  of  the  artificially 
stained  glaze  and  the  thickness  and  clumsiness 
of  the  ware. 

165.  PLATE  (Dinner) — Transfer-printed  design  in 

blue,  “Dr.  Syntax  drawing  after  Nature.”  A 
modern  imitation  of  a  Staffordshire  design 
made  by  James  Clews  about  1820.  Made  by  a 
well-known  maker  in  London,  England. 

Note  the  weak,  grayish  tone  of  the  blue  color, 
the  weight  of  the  ware,  which  is  about  one-half 
greater  than  the  old,  and  the  artificial  crack¬ 
ling  of  the  glaze,  which  on  the  back  has  been 
darkened  by  rubbing  in  coloring  matter. 

166.  PLATE  (Dinner) — Companion  to  preceding  but 

different  design — “Doctor  Syntax  bound  to  a 
tree  by  Highwaymen.” 

Note  the  scratching  produced  by  sandpaper, 
in  imitation  of  knife  marks. 

167.  PLATE  (Soup) — Transfer-printed  design  in  blue, 

“Doctor  Syntax  mistakes  a  Gentleman’s  House 


32 


for  an  Inn.”  A  modern  imitation  of  a  Stafford¬ 
shire  design  produced  by  James  Clews  about 
1820.  Made  in  America. 

Note  the  pronounced  creamy  tint  of  the  white 
as  compared  to  the  genuine  ware,  which  is  of 
bluish  tone.  The  glaze  and  color  being  fairly 
good,  but  of  a  more  reddish  tone  of  blue,  this 
is  a  more  dangerous  counterfeit  than  the  Eng¬ 
lish  copies,  as  the  impressed  mark  of  Clews  has 
been  reproduced. 

168.  PLATE  (Tea) — Transfer-printed  design  in  blue, 

“Doctor  Syntax  and  Dairy  Maid.”  This  is  a 
GENUINE  example,  made  by  Janies  Clews,  of 
Cobridge,  Staffordshire,  about  1820.  Border 
design  same  as  preceding. 

Note  the  bluish  tint  of  the  white  glaze  and 
the  fine  quality  of  the  engraving.  Shown  for 
comparison. 

169.  PLATE — Transfer-print  in  dark  blue.  View  of 

“Gilpin’s  Mills  on  the  Brandywine  Creek.” 
Modern  imitation  of  an  old  design  by  Enoch 
Wood  &  Sons,  of  Burslem,  England.  Forged 
mark  of  Wood.  Made  in  America. 

170.  PLATE — Transfer-print  in  dark  blue.  Supposed 

to  represent  Franklin’s  Birthplace.  Modern 
imitation  of  an  old  Staffordshire  design. 
Forged  mark  of  Wood.  Made  in  America. 

171.  PLATE — Transfer-print  in  dark  blue.  Subject, 

“A  View  near  Philadelphia.”  Modern  imitation 
of  an  old  Staffordshire  design.  Made  in  Amer¬ 
ica. 

172.  PLATE — Transfer-print  in  dark  blue.  Subject, 

“Near  Fishkill.”  Modern  imitation  of  an  old 
Staffordshire  design.  Made  in  America. 

173.  PLATE — Transfer-print  in  dark  blue.  Subject, 

“Erie  Canal  Eulogy.”  Modern  imitation  of  an 
old  Staffordshire  design.  Made  in  America. 


33 


174.  PLATE — Transfer-print  in  dark  blue.  Subject, 

“Baltimore  and  Ohio  Rail  Road”  (on  the  level). 
Modern  imitation  of  an  old  Staffordshire  de¬ 
sign.  Forged  mark  of  Enoch  Wood  &  Sons. 
Made  in  America. 

(The  above  described  five  plates  are  much  heavier 
in  weight  and  yellower  in  paste  than  the  genuine  old 
ones.) 

175.  PLATE — Transfer-print  in  dark  blue.  Subject, 

“The  Baltimore  and  Ohio  Rail  Road.”  A 
GENUINE  example  made  by  Enoch  Wood  & 
Sons,  Burslem,  England,  about  1830.  Shown 
for  comparison. 

Note  the  clearness  of  the  print. 

176.  PITCHER — Transfer-print  in  black.  Bust  of 

Benjamin  Franklin.  On  reverse,  eulogy  of 
Franklin.  A  GENUINE  example  of  Liverpool 
(England)  creamware  of  about  1788.  Shown 
for  comparison. 

Note  the  fineness  of  the  engraving. 

177.  TOBY — Man  seated,  holding  a  jug  of  beer.  Mod¬ 

ern  English  imitation  of  an  old  form. 

178.  TOBY — Man  seated,  holding  jug  of  beer  and  pipe. 

A  GENUINE  old  Staffordshire  example  of 
about  1830.  Shown  for  comparison. 

179.  BUSTS  (Pair) — Intended  to  represent  Washing¬ 

ton.  Modern  imitations  of  old  Staffordshire 
figures. 

Note  the  brilliancy  of  the  coloring  and  the 
crudeness  of  modeling. 

180.  FIGURE — Benjamin  Franklin,  labeled  “Wash¬ 

ington.”  Modern  Staffordshire  reproduction  of 
an  old  design. 

181.  FIGURE — Same,  but  varying  in  detail. 

182.  FIGURE — Same,  but  different  coloring. 


34 


lyg,  164.  Creamware  Bust  of  Washington  and  Peter 
Bates  Loving  Cup 
Modern  Forgeries ;  Made  in  London 


183.  PICKLE  DISHES  (Pair)— In  form  of  leaf.  Dec¬ 

orated  with  blue  transfer-print.  Willow  pat¬ 
tern.  Modern  imitation  of  old  Staffordshire 
china. 

Note  the  coarse  crackling-  and  the  heaviness 
and  clumsiness  of  the  ware. 

184.  CREAM  PITCHER— In  form  of  Toby.  Modern 

design  intended  to  simulate  an  old  one. 

Note  extreme  crudeness  of  the  coloring  and 
modeling. 

185.  CREAM  PITCHER  — In  form  of  grotesque 

human  head  covered  with  tin  enamel  and 
painted  in  blue.  Modern  imitation  of  Dutch 
Delft  of  the  18th  century. 

Note. — Nos.  179-185  were  made  by  a  manufactu¬ 
rer  in  London,  England. 

186  PLATE  (Dinner) — Transfer-printed  design  in 
blue,  “Doctor  Syntax  disputing  his  Bill.”  This 
is  a  GENUINE  example,  made  by  James 


35 


Clews,  of  Cobridge,  Staffordshire,  about  1820. 
The  beautiful  border  design  is  unusual. 

Note  the  intense  blue  of  the  decoration,  the 
lightness  of  the  ware  in  weight,  the  bluish  tint 
of  the  white  and  the  fineness  of  the  engraving. 
Although  nearly  a  hundred  years  old,  the  ware 
shows  no  crackling.  This  beautiful  example 
is  shown  for  comparison. 

187.  BOWL  —  Black  transfer-printed  portraits  of 

Washington  and  Franklin  (fur  cap).  A  GEN¬ 
UINE  example  of  Liverpool  (England)  cream- 
ware  of  about  1788. 

Note  the  thinness  of  the  ware,  the  excellence 
of  the  engraving  and  the  greenish  tint  of  the 
glaze.  Shown  for  comparison. 

188.  WALL  PLAQUE — Oval  form,  decorated  with 

black  transfer-printed  portrait  of  Washington. 
The  same  portrait  that  appears  in  the  pitchers. 

Note  the  coarseness  of  crackling,  the  clumsi¬ 
ness  of  the  ware,  and  pale,  weak  print. 

189.  WALL  PLAQUE — Oval  form,  decorated  with 

black  transfer-printed  portrait  of  “Dr.  Frank¬ 
lin.”  A  GENUINE  example  of  Liverpool 
(England)  creamware  of  about  1788. 

Note  the  fineness  of  the  engraving.  Shown 
for  comparison. 

190.  PITCHER — Decorated  with  red  transfer-printed 

portraits  of  Commodores  Perry  and  Bainbridge. 
A  GENUINE  example  of  Staffordshire  cream- 
ware  of  about  1814.  Shown  for  comparison. 

LUSTRE 

191.  BOWL — Copper  lustre.  A  modern  imitation  of 

old  lustre.  English. 

192.  PITCHER  —  Copper  lustre  with  yellow  bands. 

A  GENUINE  piece  of  the  early  19th  century. 
English.  For  comparison. 

36 


GLASS  GLAZED  POTTERY 


193.  TILE — In  form  of  an  eight-pointed  star.  Deco¬ 

rated  with  painting  of  an  animal  in  brown.  The 
tile  itself  is  old  but  has  been  cut  into  form  and 
decorated  with  oil  paint.  Some  of  the  decora¬ 
tion  has  been  removed  to  show  the  original 
surface.  Intended  to  imitate  the  Persian  tiles 
of  the  13th  century  with  brownish  lustre. 

194.  TILE  (Fragments) — Blue  and  lustre  decoration. 

Veramin,  Persia,  13th  century.  GENUINE 
example,  shown  for  comparison. 

195.  SALT  CELLARS  (Pair) — Turquoise  blue  glaze. 

Modern  Persian  imitation  of  old  pieces. 


TIN  ENAMELED  POTTERY 

196.  PLATE — Decorated  with  bird  design  in  green  in 

the  enamel.  A  GENUINE  example  of  Mous- 
tiers  stanniferous  faience  of  the  18th  century. 

197.  PLATE — A  modern  imitation  of  the  same  design. 

Probably  made  in  France. 

Note  the  black  outlines  of  the  decoration, 
which  are  painted  over  the  enamel  instead  of  in 
it.  The  painting  appears  dry  and  dull,  while 
in  the  original  it  is  glossy.  By  comparing  the 
two  plates,  the  crudeness  of  the  painting  of  the 
copy  will  be  apparent. 

198.  PLATE — Painted  in  bright  colors  in  the  enamel ; 

Cornucopia  design  ( faience  a  la  come).  A  GEN¬ 
UINE  example  of  stanniferous  faience  of  the 
18th  century.  Made  at  Rouen,  France. 

199.  PLATE — Modern  imitation  of  a  Rouen  (France) 

design,  known  as  the  Cornucopia  pattern,  of  the 
18th  century.  Made  at  Gien,  France,  in  1875. 

Note  the  transparent  lead  glaze.  Genuine 
Rouen  ware  of  this  character  was  coated  with 
opaque  tin  enamel. 


37 


200.  PLAQUE — Modern  imitation  of  a  Rouen  piece 

of  the  18th  century.  In  centre  a  heraldic  de¬ 
sign.  Border  in  lambrequins  style.  Made  at 
Giens,  France,  in  1875.  Glazed  with  lead 
instead  of  tin. 

201.  PLATE — Blue  decoration,  heraldic  design  in 

centre,  “Broderie”  border  pattern.  Made  at 
Gien,  France,  1876.  Modern  imitation  of  a 
Rouen  design  of  the  18th  century. 

Note  the  lead  glaze,  instead  of  tin,  which 
was  used  on  the  old  faience. 

202.  PLATE — Blue  decoration.  Made  at  Gien,  France, 

1876,  in  imitation  of  an  old  Rouen  design. 

203.  GROUP — Pug  dog  and  two  puppies  in  yellow 

enamel.  Modern  imitation  of  old  Holland  Delft 
ware. 


204.  PLATTER — Openwork  border,  decorated  in  col¬ 

ors  to  imitate  an  old  piece  of  tin-enameled  pot¬ 
tery.  On  the  back  is  a  false  mark  of  Hannong, 
who  was  connected  with  the  old  factory.  A 
careful  examination  of  the  decoration  shows 
that  the  central  heraldic  design  has  been 
printed  in  outline  and  filled  in  with  colors — a 
process  never  employed  at  the  old  factory.  It 
is  a  modern  imitation  of  old  Strasbourg  faience. 

205.  PLATES  (2)— Italian  scene  painted  in  central 

medallion,  blue  and  gold  border.  Tin  glaze. 
Modern  imitation  of  Naples  porcelain  of  the 
18th  century. 


206.  PLATTER— Same. 

207.  COVERED  DISH— Same. 

208.  PLATE — Decorated  with  a  cursive  N  in  centre, 

composed  of  tiny  flowers.  Tin  glaze.  Same 
ware  as  preceding. 


38 


MAIOLICA 


ITALIAN 

209.  PLATEAU  —  Modern  imitation  of  Caffagiolo 

maiolica  dish  of  the  17th  century,  with  heraldic 
design  in  centre  surrounded  by  grotesque  fig¬ 
ures.  Made  in  Italy. 

210.  TAZZA — In  the  centre,  crowned  figure  of  the 

Virgin.  Modern  imitation  of  Faenza  maiolica 
of  the  17th  century.  Italian. 

211.  PLATE  —  Modern  imitation  of  Gubbio  lustred 

maiolica.  Forged  date  (1526)  and  mark  of 
Maestro  Giorgio.  Italian. 

212.  PLATE — Decorated  with  central  caricature  sur¬ 

rounded  by  grotesque  figures  in  brown  and 
green.  Modern  imitation  of  Caffagiolo  maiol¬ 
ica.  Italian. 

213.  PLATE — Central  design  of  Cupid  surrounded  by 

grotesque  figures.  Modern  imitation  of  Caffagi¬ 
olo  maiolica  of  the  17th  century. 

214.  PLATE — Central  design  of  Cupid  warming  his 

hands  over  a  brazier,  surrounded  by  arabesque 
with  grotesque  figures,  interspersed  with  four 
medallions  containing  figures  painted  in  blue. 
The  painted  decoration  is  lustred.  Modern  imi¬ 
tation  of  old  Italian  maiolica.  The  edges  and 
base  have  been  chipped  to  imitate  wearing  of 
the  glaze  and  filed  to  simulate  age  marks.  In¬ 
stead  of  being  covered  with  tin  enamel,  as  is 
genuine  maiolica,  it  is  glazed  with  lead. 

215.  PLATE  —  Figure  subject,  “Finding  of  Moses,” 

painted  in  colors  (istoriato  style).  Modern 
Italian  copy  of  an  Urbino  plate  of  1523. 

216.  PLATE  —  Landscape  rudely  painted  in  purple 

lustre  on  a  golden  lustre  ground.  Modern  imi¬ 
tation  of  old  Gubbio  lustre  maiolica.  Italian. 


39 


217.  TAZZA — In  centre,  figure  of  Cupid  carrying  a 
ball.  Surrounding  central  medallion,  diapered 
patterns  divided  into  four  sections.  Modern 
imitation  of  old  Faenza  maiolica.  Italian. 


HISPANO-MORESQUE 

218.  PLAQUE,  or  DISH — Sunken  cavetto  with  large 

conical  boss,  surrounded  by  four  rosettes  in 
blue,  in  centre.  Conventional  floral  design  in 
relief  around  marly.  Ground  work  of  ara¬ 
besques  in  violet  and  copper  lustre.  Diameter, 
19i4  inches. 

This  is  one  of  the  best  modern  imitations  of 
Hispano-Moresque  ware  of  the  16th  century 
we  have  seen,  the  lustre  being  particularly  good 
for  modern  ware. 

219.  PLAQUE,  or  DISH — Central  design  of  a  wolf 

surrounded  with  bands  of  wheel  and  leaf  pat¬ 
terns.  The  marly  is  ornamented  with  embossed 
godroons  running  diagonally.  The  entire  deco¬ 
ration  is  in  remarkably  brilliant  lustre  of  yel¬ 
lowish  brown,  changing  when  viewed  from  dif¬ 
ferent  angles  to  a  beautiful  golden,  rose,  lilac, 
blue  and  madreperla  with  touches  of  green. 
Diameter,  18  inches.  A  GENUINE  example  of 
Hispano-Moresque  ware  of  the  16th  century. 
Exhibited  for  purposes  of  comparison. 

220.  DISH — Lion  in  blue  surrounded  by  copper  lustre 

leaf  diapering.  Modern  imitation  of  a  Hispano- 
Moresque  piece  of  the  15th  century,  in  the  Mu¬ 
seum  at  Madrid. 

Note  the  poor  quality  of  the  lustre.  Glazed 
with  lead  instead  of  tin. 

221.  TEA  POT — Tall  hexagonal  form.  Panels  deco¬ 

rated  in  relief  in  the  style  of  the  old  cuenca  tiles 
of  Seville,  covered  with  glass  glaze.  Flat  wing¬ 
shaped  handle.  Modern  Spanish  imitation. 

40 


MEXICAN 


222.  COVERED  JAR — Decorated  in  deep  blue,  with 

cherubs’  heads  and  foliage.  A  modern  revival 
of  the  old  Mexican  maiolica,  by  Senor  Enrique 
L.  Ventosa,  of  Puebla,  Mexico.  His  produc¬ 
tions  are  neither  reproductions  of  the  old  ware 
nor  intended  to  deceive,  but  represent  a  new 
development  of  the  art  after  the  old  methods. 

223.  PLAQUE — Decorated  in  deep  blue  with  double¬ 

headed  eagle  of  the  Austrian  Dynasty.  An 
adaptation  of  an  early  design.  By  Senor  En¬ 
rique  L.  Ventosa.  Modern  Mexican. 

224.  PLATE — Decorated  in  dark  blue,  yellow  and 

green.  After  a  design  on  an  old  Mexican  mai¬ 
olica  tile  (see  original,  shown  under  No.  229). 
By  Senor  Enrique  L.  Ventosa.  Modern  Mex¬ 
ican. 

225.  PLATE— Similar  to  preceding  but  decorated  with 

a  bull  (see  original,  shown  under  No.  228). 

226.  PLATE — Double-headed  Austrian  eagle  in  dark 

blue.  By  Senor  Enrique  L.  Ventosa.  Modern 
Mexican. 

227.  PLATE  —  Dragon  painted  in  dark  blue.  By 

Senor  Enrique  L.  V entosa.  Modern  Mexican. 

228.  TILE — Decorated  with  figure  of  a  bull  in  poly¬ 

chrome.  An  ORIGINAL  example  of  Mexican 
maiolica,  from  an  old  church  in  Puebla,  Mexico ; 
dating  from  about  1750.  Shown  here  for  com¬ 
parison  with  No.  225  above. 

229.  TILE — Companion  to  preceding  with  painting  of  a 

bird  in  polychrome.  Made  at  Puebla,  Mexico, 
about  1750.  Shown  here  for  comparison  with 
No.  224  above. 


4i 


230.  BOWL — Decorated  with  foliated  pattern  in  dark 

blue.  A  GENUINE  piece,  made  under  Spanish 
influence  at  Puebla,  Mexico,  about  1750.  Shown 
for  comparison. 

231.  CORNER  TILE — Decorated  with  head  of  cherub 

in  blue  in  white  medallion  reserved  in  a  blue 
enameled  ground.  A  GENUINE  example  made 
at  Puebla,  Mexico,  about  1750.  Showing  one  of 
the  designs  of  which  Senor  Ventosa’s  work  is  an 
adaptation. 

SALT  GLAZED  STONEWARE 

232.  GREYBEARD  JUG — Brown  stoneware  dated 

1687.  Modern  imitation  of  Frechen  salt  glazed 
stoneware  of  the  17th  century.  Made  at  Cologne, 
Germany. 

233.  GREYBEARD  JUG — Salt  glazed  stoneware  dated 

1850.  Made  by  Jacob  Aver  Sohne,  Ivoln,  in  imi¬ 
tation  of  Erechen  stoneware  of  the  17th  century. 

234.  CANNETTE — Modern  imitation  of  the  white 

stoneware  made  at  Siegburg,  Germany,  in  the 
late  16th  century ;  modern  pewter  lid. 

235.  CANNETTE — White  stoneware,  made  at  Sieg¬ 

burg  in  the  late  16th  century.  A  GENUINE 
example,  shown  for  the  purpose  of  comparison. 

236.  SMALL  MUG — Brown  glazed  stoneware.  Mod¬ 

ern  imitation  of  stoneware  of  the  17th  century, 
made  at  Kreussen,  Bavaria,  having  a  modern 
pewter  lid.  Made  in  Germany,  late  19th  century. 

237.  GREYBEARD,  OR  BELLARMINE— Mottled 

brown  glaze.  Made  at  Frechen,  Germany,  17th 
century.  A  GENLTNE  piece,  for  comparison. 

238.  JUG — Tiger-skin  glaze.  A  GENUINE  piece  of 

the  17th  century,  from  Frechen,  Germany. 

Lent  by  Mr.  Albert  H.  Pitkin. 


42 


Siegburg  White  Stoneware 

234.  The  First,  A  Modern  Imitation 

235.  The  Second,  A  Genuine  Piece  of  the 

Sixteenth  Century 


239.  DRUG  JAR — Brown  stoneware,  relief  decorations. 

A  genuine  piece  of  Kreussen  ware  of  the  early 
18th  century,  but  superficially  painted  to  imitate 
the  Kreussen  enameled  stoneware  of  the  17th 
century. 

240.  DRUG  JARS  (2)— Same  ware  and  period.  GEN¬ 

UINE  examples  throughout.  Shown  for  com¬ 
parison. 


43 


CLASSICAL  POTTERY 


241.  OINOCHOE — Handle  in  form  of  a  female  figure. 

Modern  Copenhagen  imitation  of  an  antique 
design. 

242.  ASKO'S — Modern  imitation  of  a  red-figured  vase 

of  ancient  Greece. 

243.  LAMP — Decorated  with  five-branched  candlestick 

in  relief.  Modern  imitation  of  an  old  Roman 
form. 

244.  LAMP — Decorated  with  seven-branched  candle¬ 

stick.  A  GENUINE  example  of  the  Christian 
era,  from  Jerusalem,  shown  for  comparison. 

245.  LAMP — Design,  two  warriors  in  relief,  fighting. 

Most  of  this  lamp  has  been  restored,  very  little 
of  the  original  remains. 

246.  LAMP1 — Roman,  early  Christian  epa,  shown  for 

comparison. 

247.  STATUETTE — Modern  imitation  of  an  old  Tan- 

agra  figurine. 

Note  the  clumsy  modeling. 

248.  FIGURINE  (Tanagra)—  A  GENUINE  example 

of  the  4th  century  B.  C.,  shown  for  comparison. 

249.  STATUETTE — Original  antique  body,  head  mod¬ 

ern. 

250.  STATUETTE— Figure  of  Eros.  Modern  imita¬ 

tion  of  old  Roman  pottery. 

251.  STATUETTE — Subject,  Eros  and  Psyche.  Greek, 

400-200  B.  C.  A  GENUINE  example,  shown  for 
comparison. 

252.  FIGURE — Woman  carrying  child.  The  head,  en¬ 

tirely  too  small  for  the  body,  is  modern.  The 
figure  is  ancient  Roman. 

253.  ASKOS — Relief  design  copied  from  the  Borghese 

marble  krater  in  the  Louvre.  A  modern  adapta¬ 
tion  of  an  old  design. 


44 


254.  RHYTON — In  form  of  a  satyr’s  head.  Modern 

imitation  of  a  red  figured  vase  of  500-400  B.  C. 

The  black  glaze  can  be  readily  scraped  off  with 
a  knife  or  washed  off  with  strong  alcohol,  which 
is  impossible  in  original  vases  of  this  character. 
In  addition,  the  red  figures  of  the  originals  are 
surrounded  by  a  heavy  black  line  of  glaze  which 
is  not  so  with  the  reproductions. 

255.  RHYTON — In  form  of  cow’s  head.  On  neck  red- 

figured  decoration,  Eros  seated.  A  GENUINE 
example,  from  Apulia,  Italy,  300-250  B.  C. 
Shown  for  comparison. 

256.  VASE  (Kalpis) — Modern  imitation  of  a  Greco- 

Roman  black-figured  vase;  subject,  “Death  of 
Patroclus.”  Made  by  P.  Ipsen,  Copenhagen, 
Denmark,  1876. 

257.  VASE  (Amphora) — Modern  imitation  of  a  Greco- 

Roman  red-figured  vase.  Made  by  same. 

258.  AMPHORA  (Nolan) — Red-figured  style.  Subject, 

Athena  and  Warrior.  A  fine  GENUINE  ex¬ 
ample  of  the  period  of  500-470  B.  C.  Shown  for 
comparison. 

259.  LEKANE — Modern  imitation  of  red-figured  style. 

Made  by  Ipsen,  Copenhagen,  1876. 

260.  LEKYTHOI  (2) — Modern  imitations  of  Greek 

black-figured  vases  of  about  the  4th  century  B.  C. 

261.  LEPASTE — Modern  imitation  of  a  red-figured 

bowl  of  ancient  Greece. 

262.  PELIKE — Modern  imitation  of  a  red-figured  Greek 

vase  of  about  400  B.  C. 

263.  LAMP — In  form  of  a  grotesque  head.  Modern 

imitation  of  an  old  Roman  design. 

264.  LAMP — Fish  shape.  Modern  imitation  of  an  early 

Roman  design. 


45 


WEDGWOOD 


265.  BUCKLE — Modern  imitation  of  old  Wedgwood 

jasper.  Female  figure  modeled  in  white  wax, 
mounted  on  blue  paper,  under  glass. 

266.  BLiTTON — Figures  of  mounted  knights  in  white 

relief  on  blue  ground.  Imitation  of  old  Wedg¬ 
wood  jasper.  Probably  from  the  Sevres  factory. 

267.  BOWL — Modern  imitation  of  Wedgwood  jasper. 

border  design  in  white  relief  on  dark  green 
ground. 

Note  the  poor  quality  of  the  reliefs.  Probably 
modern  English. 

268.  PLAQUE — Rectangular  form,  with  modeled  figure 

scene  in  high  relief  (“The  Judgment  of  Paris”). 
Figures  in  white  against  light  blue  ground.  In 
imitation  of  Wedgwood  jasper.  A  modern  repro¬ 
duction  from  an  old  mold  at  the  Sevres  factory. 
Note  the  muddy  and  irregular  color  of  the  blue. 

269.  LARGE  PLAQUE — Oval  form,  with  man’s  pro¬ 

file  in  relief.  Modern  imitation  of  Wedgwood’s 
basaltes  ware  of  the  late  18th  century. 

270.  MEDALLION — Profile  of  Cardinal  Mazarin,  in 

relief.  A  GENUINE  example  of  basaltes, 
marked  “Wedgwood  &  Bentley.”  Made  about 
1768.  Shown  for  comparison. 

271.  WAFER  TRAY — Light  blue  “solid”  jasper  with 

applied  white  reliefs  of  the  Dancing  Hours.  A 
GENUINE  example,  made  by  Josiah  Wedgwood, 
Etruria,  England,  about  1780.  Shown  for  com¬ 
parison. 


4  6 


268.  Jasper  Plaque 
Modern  Imitation  of  Wedgwood 
From  an  Old  Mould  at  the  Sevres  Factory 


POTTERY 


272.  TEAPOT — Red  stoneware,  applied  relief  decora¬ 

tions.  Made  in  Delft,  Holland,  about  1675,  by 
Ary  de  Milde,  in  imitation  of  the  Chinese  red 
boccaro  ware  of  the  same  period.  A  GENUINE 
example,  with  original  mark, — a  running  fox  and 
the  name  of  the  maker. 

273.  TEAPOT — Red  ware.  A  modern  imitation  of  the 

preceding,  with  copied  mark.  The  genuine  piece 
and  reproduction  are  shown  together. 

274.  TUMBLER,  or  CUP — Red  clay,  sgraffito  decora¬ 

tion,  tulip  design,  inscription  and  date  1793.  A 
modern  imitation  of  an  old  Pennsylvania-Ger¬ 
man  piece.  Made  by  the  Moravian  Pottery, 
Doylestown,  Pa. 

275.  CUP — Red  clay,  white  slip  coating,  sgraffito  leaf 

design.  Pennsylvania-German  ware  of  about 
1830.  A  GENUINE  example,  shown  for  com¬ 
parison. 

276.  CREAMER — In  form  of  a  cow.  Brown  glazed 

pottery.  A  modern  imitation  of  an  old  English 
design.  This  specimen  is  nearly  double  the 
usual  size. 

277.  CREAMERS  (2)— In  form  of  cows.  Brown 

glazed,  buff  pottery.  Modern  imitations  of  an 
old  form.  Made  in  Philadelphia,  late  19th  cen¬ 
tury. 

Note  the  plain  brown  glaze,  which  also  occurs 
beneath  the  base. 

278.  CREAMERS  (2) — In  form  of  cows.  Mottled 

brown  and  yellow  glaze  (so-called  Flint  Enam¬ 
eled  Ware).  GENUINE  examples,  shown  for 
comparison.  Made  at  Bennington,  Vt.,  about 
1850-1856. 

Note  the  brilliancy  of  the  glaze,  and  the  deli¬ 
cacy  of  the  mottling,  which  is  continued  under¬ 
neath  the  base. 


279.  TOBY  JUGS  (3)  —  Brown  and  black  glazes. 
Modern  imitations  of  an  old  English  form. 
Made  in  Philadelphia,  late  19th  century. 

Note  the  ball-shaped  hollow  in  the  base.  By 
this  peculiarity  these  modern  pieces  may  be 
known. 


280.  TOBY  JUGS  (2)  —  Twelve-sided.  GENUINE 

examples  of  brown  glazed  ware  made  at  the  old 
Jersey  City  Pottery  about  1840.  Marked. 
Shown  for  comparison. 

281.  TOBY  JUG — Mottled  brown  and  yellow  pottery. 

A  GENUINE  example,  made  by  W.  H.  P.  Ben¬ 
ton,  Perth  Amboy,  N.  J.,  about  1860.  Shown 
for  comparison. 

282.  TOBY  JUG — Streaked  glaze — brown,  yellow  and 

green.  A  GENUINE  piece  of  old  American 
ware  dating  from  about  1850.  Shown  for  com¬ 
parison. 

283.  TOBY  JUG — Brown  glazed  ware.  Grape-vine 

handle.  A  GENUINE  old  example  of  about 
1840,  probably  English.  The  base  is  flat.  Com¬ 
pare  with  No.  279. 


MEXICAN  POTTERY 

284.  VASE — Black  pottery,  decorated  with  grotesque 

masks  and  heads  in  relief,  and  incised  designs. 
A  modern  imitation  of  ancient  Aztec  pottery. 
Made  at  San  Juan  Teotihuacan,  Mexico. 

Black  ware  of  this  character  was  never  made 
by  the  early  Mexicans,  but  is  now  produced  in 
great  abundance  for  sale  to  tourists. 

285.  VASE  —  Black  pottery,  with  grotesque  human 

figure  and  mask  reliefs.  Mexico. 


49 


286.  PITCHER  VASE  — Black  pottery,  with  gro¬ 

tesque  figure  reliefs  and  serpent  handles. 
Mexico. 

287.  GROUP— Black  pottery.  Turtle  surmounted  by 

a  coiled  serpent.  Mexico. 

288.  IMAGE — Black  pottery.  Seated  figure. 

288A.  IMAGE — Black  Pottery.  Modeled  in  low  relief. 

288B.  GROTESQUE  FIGURINE  —  Reddish  clay, 
whistle. 

289.  CIRCULAR  PLATE  (Calendar?) — Black  clay. 

Found  near  Lake  Chapala,  Guatemala. 

290.  MASK— White  marble  carving.  Mexico. 

The  eight  pieces  numbered  285-290  are  lent  by  the 
Smithsonian  Institution. 

291.  COVERED  VASE — Decorated  with  grotesque 

heads  in  relief  and  bands  of  incised  ornament, 
the  cover  being  modeled  in  the  form  of  a  human 
figure. 

Lent  by  Prof.  William  H.  Holmes,  who  as 
long  ago  as  1883  called  attention  to  the  spurious 
character  of  this  class  of  Mexican  pottery,  in 
his  article  “On  some  Spurious  Mexican  Antiqui¬ 
ties  and  their  Relation  to  Ancient  Art,”  and  who 
quotes  the  following  from  Desire  Charnay’s 
Les  Anciennes  Villes  du  noveau  Monde:  “The 
fabrication  of  these  pieces  goes  back  as  far  as 
1820  or  1826.  This  grand  hoax  was  conceived 
in  Tlateloco  Street,  and  the  fortunate  inventor 
must  have  made  his  fortune  thereby,  to  judge 
from  the  immense  number  of  vases  dispersed 
by  him.  Most  of  the  museums  are  infested  by 
them,  to  say  nothing  of  private  collections.” 


50 


MISCELLANEOUS 


292.  MUG — Modern  imitation  of  the  “Terra  Sigillata” 
or  “Ancient  Buccaros”  of  scented  earth,  which 
were  a  mania  in  Europe  during  the  17th  cen¬ 
tury.  The  name  was  derived  from  the  stamp 
or  seal  with  which  they  were  marked.  No  gen¬ 
uine  examples  are  known  to  have  survived. 


GLASS 

293.  PASSGLAS,  or  MEASURING  GLASS— Deco¬ 

rated  in  enamel  colors  with  inscription  and  date 
1748,  horizontal  rings  separating  the  glass  in 
vertical  sections  to  grade  the  amount  of  liquor 
to  be  drunk.  Modern  imitation  of  a  German 
drinking  glass  of  the  middle  of  the  18th  century. 

294.  BEAKER — Decorated  with  heraldic  designs  in 

enamel  colors,  inscription  signed  Paulus  Puch- 
ner  Hurst,  Meister  zu  Dresden,  and  date  1587. 
A  modern  reproduction  of  a  German  drinking 
glass  of  the  16th  century. 

295.  PASSGLAS  — -  Decorated  with  figure  design  in 

enamel  colors.  Inscription  and  date  1662.  A 
GENUINE  example  made  in  Germany  in  the 
17th  century.  Exhibited  for  comparison. 

296.  PASSGLAS  —  Decorated  with  coats  of  arms 

of  three  trade  guilds  in  enamel  colors,  with 
inscription  and  date  1745.  A  GENUINE  ex¬ 
ample  made  in  Germany  in  the  18th  century. 

297.  TUMBLER — Decorations  engraved  in  gold-foil 

placed  between  two  thicknesses  of  glass,  called 
Zwischenglas  (doubled  glass)  or  Zwischengold- 
glaser.  Ruby  glass  base.  A  GENUINE  ex¬ 
ample  made  in  Bohemia.  Mid-18th  century. 

298.  GOBLET — Modern  Venetian  imitation  of  Zwisch¬ 

englas  of  the  18th  century. 

5i 


305,  304-  Spanish  Glass 

297,  298.  Zwischenglas  Modern  Imitations  of  Ancient  Pieces 

The  First  a  Genuine  Example  of  the 
Eighteenth  Century 
The  Tall  One,  Modern  Venetian 


299.  BOWL  —  Modern  Venetian  imitation  of  early 

“Christian  glass,”  from  the  original  in  the 
library  of  the  Vatican;  from  the  Catacombs  in 
Rome. 

300.  WILLKOMM-BECHER — Decoration  in  enamel 

colors,  arms  of  the  Butchers’  Guild.  A  GEN¬ 
UINE  old  example  of  greenish  glass  dated 
1676.  Shown  for  comparison. 

301.  PASSGLAS — Decorated  with  a  representation  of 

a  playing  card,  in  enamel  colors.  Modern  imita¬ 
tion  of  a  German  drinking  glass  of  the  17th 
century. 

302.  PASSGLAS — Decorated  with  representation  of  a 

playing  card,  in  enamel  colors.  Modern  imita¬ 
tion  of  a  German  drinking  glass  of  the  17th 
century. 

303.  BOTTLE — Hexagonal  form,  surmounted  by  a 

funnel-shaped  neck.  The  glass  is  old  but  the 
figure  decoration  has  more  recently  been  super¬ 
ficially  painted  in  white  and  covered  with  varnish. 
Swedish. 

304.  VASE; — Globular  body  with  funnel-shaped  neck. 

Three  loop  handles.  The  decoration,  in  enamel 
colors  and  gold,  is  in  Moorish  style.  The  inte¬ 
rior  has  been  coated  with  silver  paint.  Modern 
Spanish  imitation  of  an  old  piece  of  the  15th 
century. 

305.  ROSE  WATER  SPRINKLER— Globular  form 

with  bell-shaped  base,  two  upright  spouts  and 
large  ring  handle.  Decorated  with  vertical  bands 
of  white  enamel  hatching.  Modern  Spanish  imi¬ 
tation  of  Barcelona  glass  of  Venetian  style,  18th 
century. 

306.  POCAL — Drinking  glass  on  tall,  bulbous  stem. 

Engraved  decoration  of  Venus  and  Cupid.  Mod¬ 
ern  German  imitation  of  an  18th  century  glass. 


53 


302.  Passglas.  Modern  Imitation 
309.  Willkomm-Humpen 
Genuine  Piece,  dated,  1647 


307.  GOBLET — Wine-glass  form.  Decoration  with 
German  inscription.  Modern  German  imitation 
of  an  old  design. 


308.  WILLKOMM-HUMPEN,  OR  ADLER-HUM- 
PEN — Decoration  in  enamel  colors,  double¬ 
headed  eagle  of  the  Holy  Roman  Empire  with 
54 


outspread  wings  on  the  feathers  of  which  are 
painted  the  arms  of  fifty-six  electors  and  mem¬ 
bers  of  the  empire.  Date  1616.  A  modern  imi¬ 
tation  of  an  old  German  design. 

309.  WILLKOMM-HUMPEN — A  GENUINE  old  ex¬ 

ample  bearing  the  date  1647. 

Compare  with  the  preceding,  in  order  to  see 
the  difference  between  the  quality  of  the  glass 
and  the  decoration. 

310.  STAINED  GLASS  PANEL,  LEADED— Her¬ 

aldic  designs,  etc.,  in  various  colors  of  stained  and 
painted  glass.  Modern  imitation  of  Swiss  house¬ 
hold  glass  of  the  16th  century. 

311.  STAINED  GLASS  PANEL,  LEADED— Fig¬ 

ure  subject  in  stained  and  painted  glass  of  various 
colors,  with  date  1550.  Modern  imitation  of 
Swiss  household  glass  of  the  16th  century. 

312.  CURTAIN  KNOB — Rosette  of  opalescent,  pressed 

glass.  Long  white  metal  stem.  Modern  Amer¬ 
ican  imitation  of  a  mid-nineteenth  century  design. 
These  reproductions  are  sold  extensively. 


IVORIES 

313.  CARVED  IVORY  FIGURE  OF  CHARLE¬ 

MAGNE — Modern  imitation  of  German  ivory  of 
the  15th  century. 

314.  CARVED  IVORY  GROUP  OF  TWO  FEMALE 

FIGURES  (“The  Visitation”) — Modern  imita¬ 
tion  of  Italian  carved  ivory  of  the  13th  century. 

315.  CARVED  IVORY  GROUP  (“Elevation  in  the 

Parvis”) — Modern  imitation  of  Italian  carved 
ivory  of  the  15th  century. 

316.  CARVED  IVORY  GROUP  (“The  Conversion”) 

— Modern  imitation  of  Italian  carved  ivory  of 
the  13th  century. 


55 


3T5)  3X3>  3 17-  Ivories 
Modern  Imitations  of  Old  Examples 


317.  CARVED  IVORY  GROUP  (“The  Coronation”) 

— Modern  imitation  of  Italian  carved  ivory  of  the 
16th  century. 

In  all  of  the  above  described  pieces,  note  the 
crudeness  of  the  carving  and  the  black  lines  which 
have  been  artificially  produced  in  the  grain  of  the 
ivory  by  staining,  to  imitate  great  age. 

318.  GROUP — Madonna  and  Child.  A  GENUINE  ex¬ 

ample,  Spanish,  17th  century.  Shown  for  com¬ 
parison. 


56 


319.  GROUP — Four  figures  of  men  and  boys.  Modern 

imitation  of  old  Japanese  ivory. 

320.  GROUP — Five  figures.  Modern  imitation  of  old 

Japanese  ivory. 

Note  the  crude  carving  and  coloring  of  these 
two  examples  of  modern  art. 

321.  GROUP — Monkeys  and  serpent.  A  GENUINE 

Japanese  carving.  Shown  for  comparison. 

322.  NETSUKE — Man  and  bov  in  boat.  Same. 

323.  NETSUKE— Group.  Same. 

METALWORK 

PEWTER 

324.  WAFER  TRAY — Relief  medallions  of  Scriptural 

scenes.  Modern  reproduction  of  a  German  de¬ 
sign  in  the  British  Museum  dated  1619. 

325.  DISH — Head  of  a  Bishop  in  relief  in  centre,  in¬ 

scribed,  “Sanct  Leodigari  1647.”  Modern  repro¬ 
duction  of  a  design  of  the  17th  century. 

Note  the  scratching  of  the  surface,  produced 
by  the  use  of  sandpaper,  to  simulate  age  marks. 

326.  PEWTER  FLAGONS  (6)— With  hinged  lids,  and 

inscribed  names  and  dates  ranging  from  1783  to 
1806.  Modern  reproductions  of  old  German 
forms. 

327.  PEWTER  TANKARD — Hinged  lid,  and  incised 

decoration.  On  the  lid  the  date  1793.  A  mod¬ 
ern  imitation  of  an  old  German  form,  made  of 
spun  pewter,  and  battered  to  imitate  hard  usage. 


.*>✓ 


326.  Pewter  Flagons 
With  Eighteenth  Century  Dates 
Modern  Reproductions 


SILVER 

328.  PORRINGER  —  A  modern  imitation  of  an  old 

piece,  with  forged  mark  of  Samuel  Vernon,  a 
silversmith  of  Newport,  R.  I.  (1683-1737). 

329.  PORRINGER — -A  GENUINE  example,  made  by 

Benjamin  Burt,  a  silversmith  of  Boston,  Mass. 
(1729-1804).  Shown  for  comparison. 

330.  CAN — A  genuine  old  piece  with  recent  forged 

mark  of  John  Burt,  who  was  a  silversmith  in 
Boston  between  1691  and  1745.  The  mark  is 
in  two  places,  on  the  outside  of  upper  rim  and 
on  base. 


58 


331.  TABLE  SPOON — An  old  example,  made  about 

1820,  with  recent  forged  mark  of  Revere.  Paul 
Revere,  the  Boston  silversmith,  was  in  business 
from  about  1735  to  1818. 

332.  TABLE  SPOON — Marked  Revere.  An  exceed¬ 

ingly  crude  imitation  of  an  old  design. 

Lent  by  Mr.  George  C.  Gebelein. 

333.  TABLE  SPOONS  (2) — Coffin-shaped  handles. 

Marked  Revere.  The  spoons  themselves  are 
probably  old,  but  as  the  mark  varies  from  the 
well-known  Revere  marks,  these  pieces  are  open 
to  suspicion. 

334.  TABLE  SPOON — “Rat  tail”  pattern  of  the  mid¬ 

dle  of  the  18th  century.  Marked  I.  E.  (proba¬ 
bly  intended  for  Joseph  Edwards,  of  Boston). 
A  modern  fake. 

Lent  by  Mr.  George  C.  Gebelein. 


ENAMELS  ON  METAL 

335.  ETUI,  or  BODKIN  CASE — Dark  blue  lozenge 

pattern  on  white  ground  with  gold  lines.  Mod¬ 
ern  French  imitation  of  old  enamel. 

Note  the  new  appearance  of  the  enamel  and 
the  metal  mounts. 

336.  SALT  CELLAR — Enamel  on  metal.  Modern 

French  imitation  of  an  old  Limoges  enamel. 

337.  SALT  CELLARS  (Pair) — Imitations  of  old 

painted  enamels  on  metal.  Modern  French. 

338.  MATCH  BOXES  (2) — Imitations  of  old  painted 

enamels  on  metal.  Modern  French. 

339.  SNUFF  BOX — Gilded  metal  with  painted  enamel 

lid.  Modern  French  imitation  of  an  old  design. 

340.  SNUFF  BOX — In  form  of  a  walnut.  Modern 

German  imitation  of  an  old  design. 


59 


341.  SNUFF  BOXES  (5) — In  form  of  birds.  Modern 

German  imitations  of  old  enamels. 

342.  SNUFF  BOXES  (2) — In  the  form  of  pug  dogs. 

Modern  German  imitations  of  old  enamels. 

343.  BONBON  BOX — In  the  form  of  a  turbaned  ne¬ 

gro’s  head.  Modern  German  imitation  of  an 
old  enamel. 

344.  BONBON  BOX — In  form  of  a  dog’s  head.  Mod¬ 

ern  German  imitation  of  an  old  design. 

345.  BONBON  BOX — In  form  of  an  apple.  Modern 

German  imitation  of  an  old  design. 

346.  SCENT  VIALS  (4) — Imitations  of  old  painted 

enamels  on  metal.  Modern  German. 

347.  ETUIS,  or  BODKIN  CASES  (9)— Modern  Ger¬ 

man  imitations  of  old  enamels  on  metal.  Vari¬ 
ety  of  shapes,  colors  and  decorative  designs. 

348.  ETUI,  or  BODKIN  CASE  — White  medallions 

containing  painted  figure  scenes,  surrounded  by 
rococo  frames  in  raised  gold,  in  light  blue 
ground.  A  modern  imitation  of  old  Battersea 
(England)  enamel. 

349.  SCENT  VIAL — Figure  scenes  painted  in  medal¬ 

lions  surrounded  by  rococo  gold  frames,  in  deep 
blue  ground.  A  modern  imitation  of  old  Bat¬ 
tersea. 

Note  the  crudeness  of  the  painting  and  the 
poor  quality  of  the  gilding. 

350.  BONBON  BOX  —  Medallions  on  sides  and  lid 

painted  with  birds  and  flowers  in  colors.  A 
GENUINE  example  of  Battersea  enamel  of  the 
18th  century. 

Note  the  fineness  of  the  painting  and  the 
brilliancy  of  the  enamel. 

6o 


351.  BONBON  BOX — Another  of  similar  form  and 

period  with  turquoise  ground.  A  GENUINE 
example. 

352.  ETUI,  or  BODKIN  CASE — Landscapes  painted 

in  colors  in  medallions,  surrounded  by  rococo 
frames  in  gold,  in  a  pink  ground.  A  GENU¬ 
INE  example  of  Battersea  enamel  of  the  18th 
century. 


354.  Modern  Imitation  of  Champ- 
leve  Enamel 

Reliquary  of  the  Thirteenth  Century 
French 


353.  ETUI,  or  BODKIN  CASE  —  Of  similar  form. 

Medallions  surrounded  by  dark  blue  ground. 
A  GENUINE  example  of  old  Battersea  enamel. 

354.  RELIQUARY — Figures  of  Christ  and  His  Apos¬ 

tles  in  enamel  on  copper.  Modern  French  imi¬ 
tation  of  Champleve  enamel  of  the  13th  century. 
61 


355.  PLATE — -Enamel  on  metal.  Subject,  ‘‘David 

Triumphant.”  Modern  imitation  of  Limoges 
enamel  of  the  17th  century. 

356.  PLAQUE — Enamel  on  metal.  Subject,  “Magda¬ 

lene.”  A  GENUINE  example  of  Limoges  en¬ 
amel  of  the  17th  century,  by  Laudin.  Shown 
for  comparison. 

357.  ETUI,  or  BODKIN  HOLDER  —  GENUINE 

Battersea  enamel  of  the  18th  century.  Land¬ 
scapes  in  white  medallions  surrounded  by  dark 
blue  ground.  Shown  for  comparison. 

358.  BONBON  BOX — GENUINE  Battersea  enamel 

of  the  18th  century.  Figure  scene  in  colors  on 
white  ground,  surrounded  by  green  enamel. 
Shown  for  comparison. 

359.  PLAQUE — Enamel  on  metal.  Subject,  “Magda¬ 

lene.”  A  GENUINE  example  of  Limoges  en¬ 
amel  of  the  17th  century,  by  Laudin.  Shown 
for  comparison. 

360.  CUP  AND  SAUCER — Modern  imitations  of 

Limoges  enamel  of  the  17th  century. 


BRASS  AND  BRONZE 

361.  BRASS  VASES  (Pair) — Handles  in  the  form  of 

modeled  boys ;  engraved  decoration.  Modern 
imitations  of  European  brass  work  of  the  17th 
century. 

362.  BRASS  SPECTACLE  BOX — Engraved  decora¬ 

tion,  with  representation  of  calendar  months 
with  dates  1497  and  1582.  Modern  imitation  of 
an  old  German  design  in  brass. 

363.  BOTTLES  (Pair) — Ruby  glass,  encased  in  metal 

with  openwork  and  engraved  design — grotesque 
figures  and  masks.  Modern  Italian  imitation  of 
17th  century  work. 


62 


364.  BUST  (Diana) — Genuine  solid  bronze,  with 

brown  oxidation. 

365.  BUST  (Diana)— A  zinc  imitation  of  the  pre¬ 

ceding,  first  plated  with  copper,  then  with 
silver,  to  represent  a  silver  piece. 

366.  FIGURE  (Elephant) — A  modern  Japanese  fake, 

made  of  white  metal,  oxidized  or  painted  to 
represent  bronze. 

367.  FIGURE  (Tiger) — Solid  bronze,  GENUINE 

piece,  showing  natural  color  before  oxidizing. 

368.  FIGURE  (Horse)  —  Solid  bronze,  GENUINE 

piece,  with  green  oxidation. 

The  above  described  five  pieces  are  lent  by  Mr.  C. 
J.  Kling,  to  show  the  difference  between  genuine  and 
imitation  bronze. 


CAST  IRON 

369.  STOVE  PLATE — Design  in  relief,  “The  Temp¬ 

tation  of  Joseph.”  A  GENUINE  example  of 
Pennsylvania  -  German  workmanship,  dated 
1749. 

370.  STOVE  PLATE — A  modern  reproduction  of  pre¬ 

ceding. 

371.  STOVE  PLATE — Design  in  relief,  “Samson  and 

Delilah.”  A  GENUINE  example,  Eastern 
Pennsylvania,  dated  1756. 

372.  STOVE  PLATE — Subject,  “Cain  and  Abel.”  A 

modern  reproduction  of  an  old  design  dated 
1741. 


Printed 

At  the  Sign  of  the  Ivy  Leaf  in  Sansom  Street 
Philadelphia 


